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The  Connoisseur 

An  Illustrated  Magazine 
For  Collectors 


Edited  by  J.  T.  Herbert  Baily 


Vol.  XXV. 

SEPTEMBER     DECEMBER,    1909) 


LONDON 
Published  by  OTTO  LIMITED,  Carmelite   House,  Carmeliti    Streki     I    < 
rial  anl.  Advertisemen  r  Ofkices :   95,  Tempi  e  (  i-  vmbers,  Tempi  e  Avenue,  London,  K  ' : 


PRINTED    BY 

IEMROSB    AM)   SONS   LTD.. 

DERBY    AND    LONDON 

tyntstTY 


NDEX 


Articles  and  Notes.  p-; 

Armourers  of  Italy,  The.      Parts  I.   and   II.      By 

Charles  ffoulkes  28, 

Black    Basaltes    Ware,    The    Evolution    of.      By 

E.  N.  Scott      

Cambridge  College  Bookplates.      By  F.  W.  Burgess 

Carfrae  Alston  Collection   at   the   Royal   Glasgow 

Institute  of  Fine  Arts.     By  Percy  Bate      . . 

Caricaturist   of    the   Thirties—"  IB."     The.      By 

Egan  Mew 
China  Village.  A  Little.      By  Gertrude  Crowe 
Dolls,  Old.     By  Mrs.  F.  Nevill  Jackson 
Door-knockers,  Some  Artistic.     By  H.  B.  Wester- 
ham 
Earrings,  A  Collection  of.      By  Mrs.  Herbert  Ben- 
nett        

French  Illustrated  Books.      By  J.  H.  Slater 

Pastelhsts.  Some.      By  L.  Lewis  Hind      .. 
German    Emperor's    Collection   of    Pictures.      By 

J.  Kirby  Grant 
Knitting  Implements  of  Cumberland  and  West- 
moreland.     By  J.  C.  Varty-Smith 
Lacquer.    Old.     Part    I.     Applied    to    Eighteenth 
Century  French  Furniture.     By  Egan  Mew 
"  Lesser  George."     By  Guy  Francis  Laking 
Mahogany,  The  Years  of.     Part  VIII.      By  Hal- 

dane  Macfall 

Mediaeval  Ivories  in  the  Liverpool  Museum.      By 

P.  Nelson,  M.D 

Miniatures,  Some  Recently  Discovered,  by  Robert- 
son.    Plimer.     Cosway,     Engleheart.      and 

Smart.     By  Dudley  Heath 

Montgolfiers,  The.      By  Mrs.  F.  Nevill  Jackson    .  . 
Portsmouth,    The   Town    of.     By    Leonard    Wil- 

loughby 
Pratt  Ware.     By  G.  Woolliscroft  Rhead 
Silhouettes,    Mr.    Francis    Wellesley's    Collection. 

By  Wevmer  Jay  Mills  

Snuff-boxes,  Some  Royal.      By  W.  B.  Boulton      . . 

Stoner   George.      Collection  of  Figures  and  Groups 

by    the    Ralph    Woods    of    Staffordshire  : 

Part  I.     By  Frank  Falkner 

Surrey  Manor   House.   A.      Part   I.      By  Leonard 
'  Willoughby 


Walton,     Henry,     Artist.     By     Edmu 
F.S.A 

Wantage's.     Lady,    Collection    of    Pi< 
Lady  Victoria  Manners 
Notes. 

Avebury  Font 

Balloon  Plate,  A.     By  A.  II. 

Bow  China 

Chair,  Van  Riebeck's 

Chimu  Pottery,  A  Collection  of 

Colour  Plates,  Notes  on 

Diamond  Earrings.     By  E.  A.  Jones 


Farr 


183 


-I' 


Articles  and  Notes — Notes — continued.  page 

"Duchessof  Milan,"  by  Holbein 248 

Gosshawk,  Portrait  of  a.      By  W.  H.  Patterson   . .      24S 

Goya  Portrait,  A        I25 

Hamilton,    Lady,    by    Romney.        By    Katharine 

Esdaile  

Hatchards'  Bookshop 

Jewellery,  Old  Italian.     By  E.  N.J 

Lace,   A   Remarkable   Piece  of.      By   Mrs.    F.    N. 

Jackson 
Lambeth  Delft  Plate,  "  Charles  II."     By  A.  H. 
Lectern  in  the  Church  of  SS.  Giovanni  e  Paolo. 

By  J.  Tavenor-Perry  I24 

Lowestoft  Mug  I22 

Majolica  Relief  '91 

Napoleon  at  St.  Helena  '86 

Napoleonic  Snuff-box  . .  •  •  •  •  •  •        47 

National    Gallery,     A    New     Purchase.        "  April 

Love"  46 

Notes  and  Queries 55>  Ito-    l8°'    246 

Reliquary.  A  French.     By  J.  Tavenor-Perry        ..      124 
Russell.  John,  R.A.     Loan  Collection  at  the  Graves 

Galleries  252 

Russian  Dinner  Service,   A   Remarkable   Historic 

189-190 

Shepherd  Bros.' Exhibition  255 

Wedgwood  Exhibition.  The.     By  A.  H 254 

Jug.  A  Rare.      By  A.  H 251 

Wine  Glasses,  Old   English.     By  Herbert  W.  L. 

Way l87 

Authors. 

Bate,  Percv.     The  Carfrae  Alston  Collection        . .        87 
Bennett,  Mrs.  Herbert.      A  Collection  of  Earrings        20 
Boulton,  W.  B.     Some  Royal  Snuff-boxes             ..        93 
Burgess      Fred.    W.      Cambridge    College     Book- 
plates     J7- 

Churcher,  Walter.      Pewter  Marks  and  Old  Pewter 

Ware  (A  Review) 4s 

Crowe,  Gertrude.      A  Little  China  Village. .  ..      235 

Esdaile,  Katharine.     Portrait  of  Lady  Hamilton, 

by  Romney     ..  ..  ..  ••  ..183 

Falkner,  Frank.     The  George  Stoner  Collection  of 
Figures  and  Groups  by  the  Ralph  Woods  of 
Staffordshire.     Part  I.  . .  . .  1 59 

Farrer,  Edmund,  F.S.A.      Henry  Walton,  Artist..      130 
ffoulkes,     Charles.        The     Armourers     of      Italy. 

Parts  I.  and  IT.  ..  ..  ••  28,  167 

Grant     J.    Kirby.     The  Collection   of   Pictures  of 

1  lis  Imperial  Majesty  the  German  Emperor         3 
H.,  A. 

Balloon  Plate,  A l23 

Lambeth  Delft  Plate,  A 46 

Wedgwood  Exhibition,  The         254 

Jug,  A  Rare 251 


Index 


Authors — continued.  page 

Heath,  Dudley.     Some  Recently  Discovered  Minia- 
tures    ..  ..  ..  ..  ••  •■        25 

Hind,  L.  Lewis.     Some  French  Pastellists  ..      242 

Jackson,  Mrs.  F.  Nevill. 

I      1 .  \     ]  .'  .    .  ;       !  '      ■     I     '  1  .  .  ■  •  ■  ■         1  -  I 

Mi. iii  •■  ill"  11  -.    The  . .  . .  . .  •  •  •  •         '5 

Old  Dolls 23> 

Old  Italian  Jewellery        185 

[ona     1      Vlfri  1       Dial  1  Earrings        . ,  122 

Laking,  Guy  Francis.         1  ■  "••  •  •     237 

H  ildane. 

Decoration    and     Furniture    of    English 
ons    during     the     Seventeenth     and 
Eighteenth    Centui  ie  \    Ri  1  iew  I         ..       96 

The  Years  of  Mahogany.     Part  VIII 149 

\  ,  tori  -.     Lad)  Wantage's  Collec- 
tion     " '95 

Mew    1 
Old   Lacquei       applied   to  Eighteenth  Century 

Furniture       . .  . .  ■  ■ 

The  Caricaturist  of  the  Thirties— "JHB''  ••      101 

Mills    Weymei    |ay.     Mr.  Francis  Wellesley's  Col- 
lection <it  Silhouettes  . .  • .  •  ■     - '  5 
Nelson,  Philip   M.I).      Tin-  Mediaeval  Ivories  in  the 

1  iverpi  mi  Museum     . .  . .  •  •  •  •      106 

Patterson,  W.  H.     Portrait  of  a  Gosshawk  ..     248 

Rhead,  G.  Woolliscroft.     Pratt  Ware       ..  ..        35 

■VI il  Paper  Marks  ..        49 

:  1     \\.      1  he  P11  tin"  Sales  of  1909    ..  ..      113 

1     S.     How  to  Appreciate  Prints.     (A  Review)       49 

.,,,,     1      \.      l!i-    1  volution  of  Black  Basaltes 

Ware ■•       79 

Slater,  J.  Herbert. 

Honk  Sales  of  1909  119 

Frem  h  [llu  trated  Books  . .  . .  . .     175 

1  "\ ' Perry,   J 

1  1  1 .  1,1  n  ol  ss.  i  Giovanni  e  Paolo,  Venn  e  . .      1  J,) 

French  Reliquary,  A         ..  ..  ..  ..124 

ie    Knitting    Implements 
of  Cumberland  and  Westmoreland  . .  . .       42 

i         1  lid   I   ngli   h  Wine  Classes  ..       1S7 
:  am,  II.  B.     Some  Artistic  Door-knot  ki  1 
onard. 

Ho  . .  . .  . .        67 

The  Town  nt  Porl  mouth  . .          ..          . .  . .     131 

OTES  Cl  ASSI1  MO. 

1  1 odenl  64,  1  -•■- 

(Hi  ral  Iii  1       XVIII.   Sept- 
■  i,  tobei     \W  1.   November 
XXXVI.   December 
Vrmour. 

Parts  I.  and   II.        28,  167 

1  ollege  [72 

-  ■ 

hi.. 

■   ■■■  11  on.     By  I  )r.  1  iiieme      . .  . .     250 

?  2 

Eden     253 

•  ■      253 

..      19' 

■    1 

during    the  .    nth 

96 
174 


Books — Articles  and  Reviews     continued.  1 

French    Pastellists    of    the    Eighteenth    Century. 

By  Ilaldane  Macfall.. 
How   to   Appreciate    Prints.      By   Frank    Weitcn- 

kampt 

"I.acis."     By  Carita  

Les    Primitifs    Flamands  :      Vol.    II.      By   Fierens 

Gevaert 
M.li  1  val  Paper  Marks.     By  Harold  Bayley 

Memorial  Rings.      By  F.  A.  Crisp 

"  National    Gallery,    The."      By    P.    G.    Konody, 

M.  W.  Brockwell,  and  F.  W.  Lippmann 
Pewter    Marks    and      Old     Pewter     Ware.        Bv 

Christopher  A.   Markham 
Romance   ol    Fra    Filippo  Lippi,   The.      By   A.    J. 

Anderson 
St.  France  in  Italian  Legend  and  Art.      By  Arnold 

Gofiin 

School   of    Madrid,    The.     Bv    A.    de    Beruete   y 

Moret 

Stuart  Book  of  Psalms,  A     . . 
World's  Great  Pictures,  The 


249 
49 
126 

252 

48 


China  (see  nude)  heading — Pottery,  Porcelain,  an 

China). 
Collect  ions. 

Carfrae  Alston  Collection,  The         

German  Emperor's  Collection  of  Pictures 

Portsmouth,  The  Town  of 

Russell,     John,     R.A.       Loan    Collection    at    the 
Graves  Galleries 

Silhouettes,  Mr.  Francis  Wellesley's  Collection  of . . 

Surrey  Manor  House.  A 

Wantage's,  Lady,  Collection  of  Pictures 


Dolls,  Old 
Door-knockers 


Some  Artistic. 


23' 
223 


Engravings  and  Prints. 

Caricaturist  of  the  Thirties—"  HB  " 

Enchanted  Island,  The.      By  G.  H.  Phillips,  after 

F.  Danby         

How  to  Appreciate  Prints.      (A  Review) 
Mezzotint  111  Colour.  A  New.      By  A.  J.  Skrimshire, 

after  Gainsborough 
Napoleon  at  St.  Helena 

Furniture. 

D ration  and    Furniture  of  English  Mansions 

liming    the    Seventeenth    ami     Eighteenth 
Centuries."     By      Francis     Lenygon.       (A 
Review) 
French  Reliquary,  A . . 
I  ai  quel     1  ild       applied    to    Eighteenth    Century 

French  Furniture 
Mahogany     1        Veai     oi       Part   \  III.     The  Rise 
it  the  1  hippendales,  1730-40 


Wllle   (.Iii         01 

iwl      A 


K  .  11 1«      Miili.i  \  .1!   in  the  Liverpool  Mi 


1  arring     \  1  ollei  tion  oi  Diamond.. 
Italian   [1  ivellei  5 .  ( >M 

M  I"-  Carter 

Memorial  Ring        B)  F.A.Crisp.       \  Review) 


Index 


I. aii:  and  Embroidery. 

"Lacis."      ByCarita.      (A  Review) 

Remarkable  Piece  of  Lace,  A  

Lei  tern  m  Church  of  SS.  Giovanni  e  Paolo,  Venice., 

.Miniatures. 

Some  Recently  Discovered  Miniatures  by  Robert- 
son. Plimer,  Cosway,  Engleheart,  and 
Smart   . . 

Montgolfiers.  The 


Paper  Marks.  Mediaeval.  (A  Review) 
Pewter  Marks  and  Old  Pewter  Ware. 
Pictures. 

"  April  Love."     At  National  Caller; 
Carfrae  Alston  Collection  at  Glasgow 
French  Pastellists,  Some 
German  Emperor's  Collection 
Goya  Portrait,  A 
Hamilton,    Lady,    by    Romney,    A 

Portrait  of 
Holbein's  "  Duchess  of  Milan  " 
School  of  Madrid ,  The.      (A  Review) 
Shepherd  Bros.' Exhibition.. 


Note    on    tli 


Pictures — continued. 

Walton,  Henry,  Artist            139 

Wantage's.  Lady.  Collection  of   Pictures   .  .            .  .  195 

Plated   Ware    (see    under    heading   Gold,    Silver, 
and  Plated  Ware). 

Pottery,   Porcelain,   and  China. 
Black  Basaltes  Ware,  The  Evolution  of      .. 

Bow^  China 186 

Bristol  Delft  Plate 123 

Chimu  Pottery,  A  Collection  of        ..          ..          ..  125 

China  Village,  A  Little           235 

Lambeth  Delft  Plate,  A  Charles  II i< 

Lowestoft  Mug  . .  .  .  .  .  .  .  .122 

Majolica  Relief  ..  ..  ..  ..  ..191 

Pratt   Wan 35 

Russian  Dinner  Service,  A  Remarkable  Historic  1S9,  190 

Wedgwood  Exhibition,  The             254 

Jug.  A  Rare 251 

\\ Is,    Ralph.     The  George  Stoner  Collection  of 

Figures  and  Groups.     Parti.            ..           ..  159 

Relics. 

Snuff-box,  Napoleonic            . .           . .           . .           . .  47 

Snuff-boxes,  Some  Royal       .  .           .  .           .  .           . .  93 

Sculpture. 

Avebury  Font              . .           . .           . .           . .           . .  52 

Silhouettes,  Mr.  Francis  Wellesley's  Collection  of     . .  215 


ILLUSTRATIONS 


Armour  and  Arms. 

Armourers  of  Italy,  The. 


Sword,  An 


lque 


Artists  and  Engravers. 

Blommers,  B.  J.     The  Milkmaid  :   Morning  Call  . 

Bosboom,  Johannes.      Church  Interior 

Both.  Jan.      Italian  Landscape 

Boucher,  Francois.     Study  of  a  Head 

Cameron,  D.  Y.     Fairy  Lilian 

Conti,  B.  de.     Fra  Sisto  Delia  Rovere 

Coques,  G.     Charles  I.  and  Henrietta  Maria,  afti 

Van  Dyck        ..  ..  ' 

Cosway,  R.     Mrs.  Fllhott 
Cranach,  Lucas. 

The  Baptism  of  Christ 

The  Judgment  of  Paris 
Danby,    F.     The   Enchanted    Island.      By   G.    F 

Phillips  

Demarteau.     Le  Faucon.     Alter  Huet  (?) 
Engleheart,  G. 

Col.  Elliott 

Portrait  of  a  Gentleman 

I  aber.     Charles  11.,  after  Lely 

Francken,  Franz.      Adoration  of  the  Shepherds  . 
Goya.     Duchess  Alvarez  de  Toledo  and  Daughter 
Harris.      Race    for   the   Great    St.    Leger   Stakes 

1836.     After  Pollard 
Hobbema,  M.     The  Waterfall 


Artists  and  Engravers — continued. 

Holbein.      Henry  VIII.     Panel  Portrait    ..           ..  74 

Hondecoeter,  M.  de.      Peacock,  Peahen,  and  Birds  200 

Hoogh,  P.  de.      Courtyard  of  an  Inn          . .           . .  195 

Hoppner,  John.     Lady  Langham.      By  C.  Wilkin 

Frontispiece — /  V,  cml'ci 

Huet  (?),  Le  Faucon.      By  Demarteau        ..           ..  213 

Hughes,  Arthur.      "  April  Love  "   ..           ..           ..  46 

Keyser,  T.  de.      Man  on  Horseback             . .           . .  17 

Lancret,  N.      Blind-Man's  Buff 6 

Largillierc.      "  Cardinal  York."'    By  A.  J.  Skrim- 

shire      .  .            .  .            . .            .  .            . .            .  .  227 

Le  Brun,  Madame  \  igee. 

Louise  Marie  Adelaide  de  Bourbon,  Duchesse 

•in.  leans          a 


Marie  Antoinette 

■lv.  Sir  P. 

Barbara.   Counter  (  astlem.n 


Pl('v  llttlil.'ll    /'/,(.',     -   I  1 


Frontispiece — November 


Charles  11. 
Maris,  James. 
Matsys,  Quen 


I'.v  Fabei 


Glow 


A  Quiet  Berth  :    Mor: 
1.     Head  of  Christ 

Presentation  Plate 
Mauve,  Anton.     The  Herdwife 
Murillo,  B.  E.     Virgin  and  Child    .. 
Menageot,  A.     A    Prospect    oi    Portsmouth. 

G.  Scotin  

Nattier    J.  M. 
Marie  Leczinska,  Queen  of   France 
1 ' 1  almont 


.  .        So 


Index 


Artists  and  Engravers— continnra. 

Nocret.    Jean.      Louise  Francoise  de  la  Batime  le 
Blanc,  Duchesse  de  la  Valhere 

Presentation  Plate— November 

,  J.     Charles.  Marquess  Cornwallis,  K.G. 

\tt,  i   ii.  Walton        ■•  ■•  ••  •■      '43 

,.,,1.     \    ran.   Still  Life  :  BackCourtofa  House     198 

J.  van.      A  Country  Inn 2°5 

1    b.     lit.  <  hampetre        ••  ••  ■•         7 

Pember     R      Landscape    ..  •■  ....     "2 

\.     Frederick    the   Great    and    his   Sister 
Wilhelmine     ..  ••  ••  ••  •■         9 

PhilUps     G.    H.     The    I  n     an1    I     I   land.     Alter 

Danby        ..  ■■  *49 

Plimer,  A.     Edward  Woodville  Rickctts  . .  ■•       26 

Pollard.  J  as. 

Newmarkel  Races  Prescntati 

r   ,     E01  tl  1   Greal  St.  1  egei   51    I  ,: 

. 
D     Ii,  ii      JohnTait.     By  Vndrev,  Roberl 
son 

Ramsay,  Allan.     Mrs.  Ramsay 

Rembi    ndt       Port    i am  Ud  Lady 

Sir   J. 
Hoare  and  Child      Presentation  Plat,      Sept, 

:    COUnt      Mtlinrpf  .  . 

Rizi,    Juan. 

t,  d  to.]     Portrait  ot  a  Bo 


n  Plate — December 
53 


--,<< 


All. 
Vftei 


,„.,!,     Ri     hi      .  .  .  ■  •  •  •  •         51 

Andrew.     John   Tait.     Aftei    Sir    H. 

R     burn  ..  ••  2S 

i    ,  an,     1  ,i..ii.l  R01  1  ■    1   mdscap 
\   pr0  p,  1  ,  ,,i  Portsmoi 

hi 
\    |.        1  ardinal  York. 

22y 

Smart.  J.      Portrait  "I  a  Lady  27 

Smith,  |.  R.      I1"-  I  ruit  Barrow.      Utei  H. Walton     i  59 

.1     I    n       l-.M'Htl.  Night '97 

,    .,,,    |    m      1  in  the  Uert      I  ad  Cubs    ..       91 

,i        ,      ngl  LaFemmeJ  douse..     204 

I ■     ;  1  i   Frederii  ka   Sophie 

Imina 83 

[Toy,  J.  1  '       D        !  ,"""  olLove--  ■  ■         8 

Van  de  Vel  '  '  "kin-      2('2 

1     ,,,i!   ii.  urn  m  1  Mari  1       By  G.  O  ques      1  m 

1         I 

..      143 
Edward  ] 

I    ■    I, on      . . 

1 

. . 

'l  

Girl         

1 

.. 

zi 



..      157 

I 


PAGE 

Bookplates,  Cambridge  College  ..  •■  172-3 

Books,  French  Illustrated.      (Five  illustrations)        . . 

174-179 
Frontispiece    to    "  The  Triumphs  of  Temper  "  and 

•'  Serena  in  the  Boat  of  Apathy  "  . .  183.  184 


Dolls,  Old.      (Ten  specimens)   .. 
Door-knockers.  Some  Artistic.      (T\ 


223-229 


Engravings,  Etchings  and  Prints. 

"  Cardinal     York."     By     Alfred     J.     Skrimshire 

After  LargiHiere 
Caricaturist  of  the  Thirties—"  H6."  The.       Ilivi 

sketches)  ' 

Charles    I.  and   Henrietta  Maria.      By  G.  Coques 

After  Van  Dyck         

II.      By  Faber.      After  Lely  ..  ••      133 

Marquess  Cornwallis,  K.G.     By  J.  1  Igborne. 

After  H.  Walton  M3 

Enchanted  Islam],  The.    By  G.  H.  Phillips.    After 

I      Danbv         J4tJ 

Fruit   Barrow    The.      Bv  J.  R.  Smith.      After  II. 

Walton  .."         '39 

I  ady  Langham.     Bv  C.  Wilkin.     After  Hoppner 

Frontispiece — December 
Bv  Demarteau.     After  Huet  (?)      ..      213 


131 


Le  Faucon. 

Napoleon  at  St.  Helena  •      '<So 

Newmarket  Races.     By  James  Pollard 

Presentation  Plate — December 

Portsmouth,  A  Prospect  of.     By  G.  Scotin.     After 

A.  Menageot  . .  . .  .  ■  •  •  . .      132 

Race   E01    the  Great   St.   Leger  Stake,,    1  s  s6.     By 

Harris.      After  Pollard  53 

Silver  Age,   The.      By  J.  R.  Smith.      After  II.  Wal- 
ton        ..  '4' 

Young    Maid.    The,    and    the   Old   Sailor.      I'.s    J. 

'Walker  and  Bartolozzi.      After  11.   Walton      [46 


Fans  IMontgolners)        ..  ..  ..  ■■  ••         '9 

Furniture. 
Cabinet,  Black  and  Gold  Lacquer,  at  Sutton  Placi 

Chair,  Van  Riebeck's  (Dutch)  19" 

CI, .ins      Various     (1720-1735).        (Mahogany    anil 

Walnut)  151-156 

M 1     Panelled    Room,     Early    Georgian,    at 

HattonGarden 148 

Girandole,  Carved  Wood,  with  Gesso  Enrichment       97 
1    ,,.|iiei.    Old:     applied    to    Eighteenth    Centuiv 

French   Furniture.      (Seven  examples)       206-212 
Press,  Carved  <  >ak    al  Sutton  Pla<  e  ..  ..77 

Settee    Walnut  (1720)  . .  . .  . .  ..150 

Mahogany  Chippendale  (1735)        ..  ■•      '54 

1    m.    m,  1  arved  Wood.  Gilt,  and  Marble  Too  en- 
closed in  (  hased  Brass  Frame       . .       96 
with  Gesso  Enrichment         . .  •  •  •  •      "-»' 

\\    ilnm    (1720)  149 


English 

I 


minis) 

187,    188 
..      248 


I  •.1,1. 1.. I 


M.-lia-val,      in 
samples) 


the     Liver] 1     Mi 


Index 


PAGE 

Jewels. 

Earrings.      (Various  Specimens)      . .           . .  20-24 

Diamond    ..           ..           ..           ..  ..      123 

Italian  Jewellery,  Old.      (Six  examples)     ..  ..      185 

"  Lesser  George  "  of  the  Order  of  the  Garter  237-240 


Knitting  Implements.      (Various  specimens) 


41-44 


Lace  and  Embroidery. 

A  Remarkable  Piece  . .  . .  . .  . .  ..12 

Creation,  The . .  ..  ..  ..  ..  ..12 

Lectern  in  Church  ol   SS.  Giovanni  e  Paolo,  Venice  1 - 

Marriage  Certificate  (Copy)  of  Charles  II 15 

Miniatures. 

Elliott,  Colonel.      By  G.  Engleheart            ..           ..  : 

,,       Mrs.      By  R.  Cosway            : 

Henry  VIII.      After  Holbein            ; 

Portrait  of  a  Gentleman.     By  G.  Engleheart 

,,     Lady.      By  J.  Smart..           ..           ..  : 

Queen  Elizabeth.      After  Zucchero. .           .,  ; 

Ricketts,  Edward  W.     By  A.  Plimer           . .           . .  : 

Tait,    John.      By    Andrew    Robertson.      After   Sir 

Henry  Raeburn          . .           . .           . .           .  •  '■ 

Pewter  Spoon  Rack,  Eighteenth  Century       . .           . .  < 
Pictures  and  Drawings. 

Barn  Girl,  The.      By  H.  Walton 1. 

Bridgman,   Edward,   Senior  and    Junior.     By   H. 

Walton             1 . 

Calm,  A  :    Soldiers  Embarking.     By  W.   Van  de 


Velde 


Church  Interior.  By  Johannes  Bosboom  . . 
Country  Inn,  A.  By  Isaak  van  Ostade  .. 
Courtyard  of  an  Inn.     By  Pieter  de  Hoogh 

Dance,  The.      By  Ant.  Watteau 

Declaration  of  Love,  The.  By  J.  F.  de  Troy 
Don  Tiburcio  de  Redin.  ByJuanRizi  .. 
Duchess   Alvarez  de   Toledo  and   Daughter.      Bv 

Goya 

Fairy  Lilian.     By  D.  Y.  Cameron 

Fete  Champetre.      By  J.  B.  Pater 

Fra  Sisto  Delia  Rovere.     By  Benardino  de  Conti 
Frederick  the  Great   and   his  Sister  Wilhelmine. 

By  Ant.  Pesne 
Gibbon,  Edward.      By  H.  Walton 
Grand  Rocky  Landscape.     By  Jacob  van  Ruysdael 
Head  of  Christ.     By  Quentin  Matsys 

Presentation  Plate — Dect 

Herd  wife.  The.     By  Anton  Mauve 

Italian  Landscape.     By  Jan  Both 

Judgment  of  Paris,  The.      By  L.  Cranach 
La  Femme  Jalouse.     By  D.  Temers.  jun. 

Landscape.     By  R.  Pembery  

Milkmaid.  The  :    Morning  Call.      By  B.   J.  Blom- 

mers 
On  the  Alert:    Lioness  and  Cubs.      By  J.  M.  Swan 
Peacock,  Peahen,  and  Birds.     By  Melchior  de  Hon- 

decoeter 
Petty,  Lord  Henry,   3rd  Marquess  of  Lansdowne. 

By  H.  Walton  

Portrait  of  a  Boy.      Attributed  to  Juan  Kizi 

an  Old  Lady.      By  Rembrandt 
Princesse  Talmont.     By  J.  M.  Nattier 
River  Waveney,  near  Beccles.     By  H.  Walton    .. 


11. 1 1 1 
89 
Kir, 


PAGE 

Pictures  and   Drawings — continued. 

Still  Life  :    Back  Court  of  a  House.      By  A.   Van 

Ostade  2°5 

Study  of  a  Head.      By  Boucher ?4 3 

Twelfth  Night.      By  Jan  Steen         197 

Tyrell,  Rev.  Chas.      By  H.  Walton 145 

Virgin  and  Child.      By  Bartolome  Esteban  Murillo     201 
Watermill,  The.     By  Meindert  Hobbema  . .  199 

Pi  win,  including  Colour-Prints  and  Engravings. 
Al thorp.  Viscount.      By  Sir  J.  Reynolds    ..  ..        99 

"Cardinal     York"     (Henry    Benedict     Blomens 

Stuart).     By   Alfred' J.   Skrimshire.      After 

Largilliere        . .  .  •  •  •  •  ■  . .      22; 

Castlemaine.  Barbara,  Countess  of.     By  Sn   Peter 

I.ely      ..  ..  Frontispiece — November 

Cornwallis,    Marquess.       By    J.    Ogborne.      After 


H.   Walton 
Head  of  Christ.     By  Quentin  Matsys 


143 


Ion  re,   Mrs.,  and  CI 


lh.lv  Fami 


Presentation  Plati    -December 
Bv  Sir  J.   Reynolds 

Presentation   I'hit,       September 
The.      Bv  Van  Dvck 

Frontispiece — Septembei 

"Hudibras."     By  Ralph  Wood 157 

Langham,  Lady.     By  C.  Wilkin.     After  J.  Hopp- 

ner.  R.A.  ..  ..        Frontispiece — December 

LeFaucon.     By  Demarteau.      After  Huet  (?)       ..      213 
Louise  Francoise  de  la  Baume  le  Blanc,  Duchesse 
de  la  Valliere.     By  Jean  Nocret 

Presentation  Plate     November 
Louise    Marie    Adelaide    de    Bourbon,     Duchesse 

d 'Orleans.     By  Vigee  le  Brun         ...  ..        H 

Man  on  Horseback.      By  T.  de  Keyser       . .  . .        17 

Marie  Antoinette.      By  Vigee  le  Brun 

Presentation  Plate  -Octobei 
Marie  Leczinska,    Queen   of   France.     By    J.    M. 

Nattier  lSl 

Princess     Fredericka     Sophie     Wilhelmina.     By 

J.  F.  A.  Tischbein 83 

Newmarket  Races.     By  James  Pollard 

Presentation  Plate — Decembei 
Race  for  the  Great  St.  Leger  Stakes,   1836.     By 

Harris.     After  Pollard  ..  ..  ..        53 

Ramsay,  Mrs.  Allan.      By  Allan  Ramsay  . .  . .      117 

Study  of  a  Head.      By  Boucher 
Sutton  Place,  near  Guildford  From 

Portsmouth  Corporation  Regalia.  iVc. 
Pottery,  Porcelain  and  China. 

Black  Basaltes  Ware.      (Various  pieces) 
Bow  China.      Figures  and  Groups  . . 
Bristol  Delft  Plate,  1784       ..  .. 

China  Village,  A  Little.      (Twenty  mode 

Faience  Plates  and  Dish 

Lambeth  Delft  Plate,  Charles  II 

Lowestoft  Mug 
Majolica  Polychrome  Relief . . 
Pratt  Ware.      (Various  specimens) . . 
Russian  Dinner  Service.    (Medallion,  Catharine  It. 
and  1  Piece) 

Sevres  Teacups  and  Saucers,  &c 

Staffordshire  Figures  and  Groups,  by  the  Ralpl 
Woods.  The  George  Stoner  Collection 
(Various  specimens)   . .  . .  . .  1 

Wedgwood  Teapot 2:4 

Jug.  A  Rare        251 

Reliquary,  A  French 124 


•      243 
October 

34-I3S 

79-82 


-  3  5  ■ 


35-4° 

189 
[6 

50  [66 


Index 


Sl   '   I  I'll   RE   AND  STATUARY. 

Font  in  S.  James'  Church,  Avebury 
S.  Mary's    Bourne 
Silhouette-  (Profile  Portraits— twenty 
Snuff-box,  Napoleonic  . . 


52 
•  •  253 
215-229 
..       47 


Snuff-boxes,    Some    Royal.      Fourteen   specimens 
Stuart  Book  of  Psalms  with  Needlework  Cover 
Sutton   Place  :     Halls,    Dining  Room,   Panels,   Fir 
places,   Stained  Glass,  Tapestry 


PAGE 

92-95 
250 


IN    THE    SALE    ROOM 


Books. 

Annals  of  Sporting  and  F; ,  Gazette,  The         ..  63 

Apperley. 

I  ,ife  'it  .i   Sportsman         . .          .  •          •  •          ■  •  62 

John  Mytton         62 

Audubon's  Birds  of  America           ..          ••          ••  63 
Bibli    I  1  lie      Breeches'       1    60  and    [599              61,  63 

Biblia  Sai  ra  Gracia,  1518  ..          ■  •          •  ■          •■  62 

.,     Polyglotta,    1514        62 

Book  "i  1  ommon   I  'rayer,   1786     . .          . .          .  •  62 

,,      Sales  of    1909 "9 

I;,,a  mi  nun  ad  I     urn  1  i  iten  iensis  Ordinis. .  ..61 

Burns,  Robert.     Ay  Waukin  'O.     Original  MS.  . .  62 

Carey's  Life  in  Paris  . .          . .          ..          •  •          ■  •  62 

Catlin's North  American  Indian  Portfolio..          ..  62 

Chapman's  Architectura  Navali    Mercatoria,  1768  61 

Cokaj  ne'    1  omplete  Peerage           . .          ..          •  •  62 

Columna's  H                          ia,  1554            . .          ..  62 

Danci   of]  ife,  The            62 

1 •  oi  1  »eath,  The       . .         . .         . .  62 

Works        . .          . .          .  .          . .          • .  61 

Doral      I  •     Baisers,  1770     . .          . .                       •  62 

Dugdale.     Monasl Vnglicanum            ..          ■.  61 

1                      D           dof  1  ibrarj  .  .          ..  61 

Grov      Hi        men   ..  62 

Glanville's  De  Proprietatibu    Rerum,  1535           ..  61 
Patricl         Historii     oi     Pi  ini  e     Robei  1 

[615 02 

r-Gcneral     ii    M    W     1        Disj oi 

1 \            . .          . .          . .          . .          . .  63 

Gould's  Bird                             lin         63 

Haden   Seymour.     Etudes  a  1'Eau-Forte..          ..  62 

1  G  and  Wild    Animals  oi 

hern  Africa          . .          ..          ..          . .  62 

Henry  VI 1 1       P                                1545     . .          . .  63 

62 

I  nth    the 

Indian                                                 ..          ..  63 

1 .                                                                 . .  62 
•  tine. 

•  Kouvellcs  in  Vers                     . .          . .  62 

'■i 

63 

Lord.  63 

61 

62 

. .  62 

1           ..  6l 


PAGE 

Books — continued. 
Marlowe's  All  Ovid's  Elegies,  1596  .. 
Meredith,  George. 

Poems 

Works.      32   vols 

Milton's  Poems,   1645 
Piranesi's  Vedute  di  Roma 
Plays  and  Pamphlets 

and  Poems,  Early  English    .. 
Reichenbach's  Icones  Flor.e  Germanicae  et  Helve 

ticae 
Rowlandson.     Poetical  Sketches  of  Scarborough . 
Scott.  Sir  Walter.     Waverley  Novels 
Shakespeare's  Fourth  Folio 
Smeeton's  General  Biography,  18 1 8 
Sporting  Magazine,  The,  1792-1870 
Tanner's  Mirror  for  Mathematiques,  1587  ..  ■•        61 

Transactions  of  the  Institute  of  Naval  Architects, 

1S60-1908         61 

Walton's  Compleat  Angler,  1664     ..  ..  ■•        61 

Watson,  Dr.  Richard.      Dispersal  of  Library  ..        62 

Watts,   Isaac.     Hymns  and  Spiritual  Songs,   1707       63 

Williamson's  Oriental  Field  Sports 62 

Wood's  New  England's  Prospect,  1635       ..  ••       62 

Wycherley's  Miscellany  Poems,  1704  ..  .  .        60 


.       62 

62,63 
.  61 
.  62 
61 
.  62 
.       62 

•  63 
62 
61 

.       62 
.       62 

•  63 


I    01  I  l|  'ORATIONS,    AND    MEDALS. 

Cross  for  Peninsular  War     . . 
Distinguished  Service  ( )rder 

Mi  .Lil  I  ii    I  VniiiMil.ii   \\  .ir      .  . 


\,,l:  WIM  IS. 

Dubuffe.     La  Surprise,  after  Lawrenci 
Smith,  J.   R. 

Delia  in    I  own  and  Delia  in  the  Co 

Morland  

Ru  in     \1n11  emenl    and    Rustic    E 

after  Morland 

Turner,  C.      Le  Baiser  Envoye,  aftei  1  . 


nil,   .in     Jheraton 
1  haii     Hum  Gadshill) 
ppendale 

1  loi  k,   \,i  "   \i  t  ni  1  '.11  liament 

■ a  1 


c  ,<,,  d,  Silver    vnd  Plated  \\ 

1  ■ 


Index 


Pictures  and  Drawings. 

Artz,  D.  A.  C.     The  Fisherman's  Children  .  . 
Beechey,  Sir  \V.     Mrs.  Archer 
Bell. nn.  Barrel.      A  Gentleman  and  His  Wife 
Bisschop,  C.      The  Crown  Jewels 
Blommers,  B.  J.      Boys  Bathing 
Bonington,   K.  P. 

Grand  Canal,  Venice  

View  "ii  the  l'i  ench  ( !i  >ast 
Bosch,  H.     The  Adoration  of  the  Magi 
Brekelenkam,  O.     A  Cavalier  and  I.. id  5  seated 

Table 

Brown,  F.  Madox.     Jacobo  Foscari 
Burne-Jones,  Sir  E.     Green  Summer 
Chandler,  J.  \Y.      Mrs.  Franklin 
Clays,  P.  J.     A  Calm  on  the  Scheldt 
Constable,    J. 

Brighton  Beach 

West  End  Fields,  Hampstead 
Cooper,  T.  S.     Cattle  by  a  Stream 
Corot,  J.  B.  C.     Souvenir  de  la  Villa  Pamphili 
Cox,  D.      Outskirts  of  a  Wood 
Crome,  J.     A  Squall  off  Yarmouth 
Cruz,  J.  Pantoja  de  la.     Countess  Pallavicino 


uyp,  A. 
A  Town  or 
Portrait  of 


1  River 
Youth 


Daubigny,  C.  F. 

Les  Laveuses,  a  View  on  the  River  Oise  . .           .  .  58 

Moonrise      . .           . .           . .           . .           . .           . .  60 

Davis,  H.  W.  B.     Loch  Maree          58 

De  Bruyn. 

Portrait  of  a  Gentleman  . .           . .           . .           . .  60 

,,     Lady             ..           .,           ..           ..  60 

DeWmt,  P.      On  the  River  Arun 58 

DeWitte,  E.     Interior  of  Amsterdam  Cathedral  . .  57 

Diaz,  X. 

L'Heureuse  Famille            ..           ..           ..           ..  60 

Venus  and  Adonis  in  a  Landscape  accompanied 

by  Cupids        . .           . .           . .           . .           . .  58 

f'antin-Latour,    H. 

Asters  and  Gladiolas  in  a  Glass  Bottle    . .           . .  60 

Azaleas  in  a  Jar      . .           . .           . .           . .           . .  60 

Peonies  in  a  Glass  Vase      . .           . .           . .           . .  60 

Fielding,  C.     Scotch  Mountain  Firs,  Glen  Maree  . .  58 

French  School.      Portrait  of  a  Lady             . .           . .  60 

Frere,  E.     The  Young  Student 58 

Gainsborough, T.  The  Artist's  Daughter  as  a  Gleaner  60 

Gardner,   D. 

Mrs.  E.  A.  Hall,  afterwards  Mrs.  Morse  . .           . .  60 
Three   Pastels.     Children   of   David    Lewis,    of 
Malvern     Hall  :      Elizabeth,     Maria,     and 

David  G.  Lewis           ..           ..           ..           ..  57 

Goyen,  J.  van.     River  Scene            ..           ..           ..  57 

Clow,  A.  C.      The  Requisitiomsts ;8 

Graham,  Peter. 

Evening:    Highland  Cattle  crossing  a  Stream    ..  60 

From  Beetling  Sea-Crags,  &c       . .                        .  .  60 

Greuze,  J.  B.      Jacques  Meeker         57 

Guardi,  F. 

An  Island  near  Venice       ..           ..           ..           ..  57 

Santa  Maria  della  Salute,  Venice .  .           ..           ..  57 

View  of  "  La  Zuecca  "       ..          ..          ..          ...  55 


'ictures  ant>  Drawings — continue, I '. 
Haanen,  C.  van.     Trying  on  the  Ball  Dress 
ll.ilswelle,  Keeley.      Shooter's  Hill,  Pangbourne  .. 
Harlow,  G.  H.      Portrait  Group  of  Mrs.  Hopwood 

and  Children 
Harpignies.lt.     Poplar  Trees  at  Herisson . . 
Heist,  B.  van  der.      Portrait  of  a  Lady 
Herkomer.  Sir  II.  von.      The  Last  Muster  :  Sundav 

at  the  Royal  Hospital,  Chelsea 
Holland,  J.     The  Church  of  the  Gesuati,  Venice  . . 
Hoppner,  J. 

Portrait  of  a  Lady 

Robertson,  William 
Hunt,  W.  Holman.     The  Scapegoat 
Huysum.  J.  van.      Flowers  and  Birds'  Nests 
Isabey,  E.     The  Favourite,  or  My  Lady's  Parrot . . 
Israels.  J. 

Children  <•!  1  he  s,-,i 

Cottage  Door,  The 

Pig-sty.  The  

Portrait  of  a  Girl 

Saying  Grace 

Shrimper,  A 

Signal,  The 

Watching  the  Cradle  

Kneller,  Sir  G.      John,  Duke  of  Marlborough 
Landseer,    Sir    Edwin.     Scene    from     the    "  Mid- 
summer  Night's   Dream"    .. 
Lawson,  Cecil  G.     The  Doone  Valley,  North  Devon 
Leader,  B.  W. 

Conway  Bay 

Green  Pasture 

Parting  Day 
Le  Brun.  Vigee. 
Leighton,  Lord. 
Leighton,  E.  Bk 


■  ind  Mill  Waters 


Portrait  of  a  Lady 
Cymon  and  Iphigenia 

Lay  Thy  Sweet  Hand  in  Mine 


and  Trust  in  Me 
Lely,  Sir  P.      Duchess  of  Cleveland 
Lenbach,  Franz  van.     Signora  Eleonora  Duse 
Le  Sire,  P.      Regnier  Strik  Johanszoon  and  d'Alida 

van  Scharlaken 
Leys,  Baron  H.     Martin  Luther  reading  tin-  Bible 

to  his  Companions 
Linnell,  J.,  sen.  On  Summer  Eve  by  Haunted  Stream 
Millais,  Sir  John  E. 

Joan  of  Arc . .  . .  . .  ... 

Murthly  Moss,  Perthshire 

Rt.  Hon.  John  Bright        

Maes.  N.     Portraits  of  a  Gentleman  and  His  Wife 
Maris.  J. 

A  Young  Child  Seated  in  a  Chair  with  a  Bowl  of 
Soup 

Low  Tide 

The  Bridge 
Maris.  W. 

Cattle  in  a  Pasture . . 

Ducks  

Dutch  Dyke,  A 

Feeding  Calves 

Milking  Time 
Mauve,  A. 

Cows  and  Calves  in  a  Pasture 

Landscape  with  Peasant  and  Sleep 

Peasant  Girl  and  Cows 

Shepherd  and  His  Flock,  A 


PAGE 

Pictures  and  Drawings — continued. 

Millet,     J.    F.       Jeune    Fille    attrapee    par     des 

Amours             . .           ■  ■           •  ■           •  •           ■  •  5s 
Monnover.   J.   B.      Flower  in  a  Terra-cotta  Vase, 

Fruit,  Parrots,  and  Rabbits 6° 

Morland,  G. 

Comforts  of  Industry,  The             ■■           ••           ••  57 

Miseries  of  [dleness,  the 57 

Morri     P.  R.      Piping  Home            59 

Munkacsy,  M.  von. 

reti   i   fete             ■■          "  ° 

Hi.-  1  wo  I  amities 58 

Murillo.  B.  E.      die  Immaculate  Conception        ..  59 

Nasmyth,  A.      Mr.  and  Mrs.  J.  Cockbum  Ross      ..  60 

Nattier,  J.  M.     Mile,  do  Langeis 6o 

Neer,  Vandei  B.     Rivei  Scene       59 

Neuhuys,   \.      rhe  Peasant  Famil)            •■  "" 

I       Mrs.  Collingwood 57 

Ochtervel.lt.  J.      The  Music  Lesson              ..            ■•  59 

Orchardson,  Sir  W.  Q.     The  Challenge      ..          ••  59 

Pettie,   |.     Sweel  Seventeen            59 

is,  lln-iu. inn.      A  Musical  Reverie       ..           •■  58 

Phillips.  J.    Selling  Relics,  Cathedral  Porch,  Seville  59 

Picture  Sales  of  1909 "3 

Pinwell.G.J.     Out  of  Tune:  the  Old  Cross           ..  59 

Pourbti     I-     Mary,  Queen  01  Scots          ..          ••  S7 

Poynter,  Sir  K.  J.     Under  the  Sea  Wall    ..          ■•  59 

Prout,  S.     Milan        58 

Quilter,  Sir  W.  Cuthbert.     Dispersal  of  Collection  58 
Raeburn,  Sir  II. 

Blisland,  Master  Thomas ;S 

Sinclair.  Sir  John 6o 

Rembrandt.     Descent  from  the  Cross        •■          •■  57 
Reynold-.,  Sir  J. 

Portrait  of  a  Gentleman    ..          ■•          ••          ••  57 
I  h(.   Grai  es   decorating   a    Terminal    Figure  of 

Hymen              59 

Venus  and  Piping  Boy 59 

Riviere,  Briton.     The  Magician's  Doorway          ..  59 
Romney,  G. 

Admiral  Sir  John  Orde 57 

m            59 


slip 


Pictures  and  Drawings — continued. 
Romney,  G. — continued. 

Miss  Watson,  afterwards  Mrs.   Edward  Wake- 
field       

Wakefield,  Edward,  of  Gilford 
Rossetti,  D.  G.     La  Bella  Mano 
Russell,  J.     Girl  with  a  Spaniel 
Ruysdael.  J.     Woody  Landscape 
Sandys,  F.      Portrait  of  a  Lady 
Shee,  Mr  M.  A. 
Mrs.  Anna  Shawe  Leeke    . . 
Mrs.  Stephen  Kemble  as  "  Co 
Stannard,  J.      A  Coast  Scene 
Steen,  J.     Backgammon  Players    .. 
Tol,  D.  Van.     Girl  at  a  Spinning-Wheel 
Turner,  J.  M.  W. 

East  Cowes  Castle,  the  Seat  of  J.  Nash,  Esq.,  and 

Regatta  Beating  to  Windward 
\  enus  and  Adonis 
Van   Alphen,   Dowager  the  Hon.  Louise.      Dispersal 

of  Collection 
Velasquez.     Mariana,  Wife  of  Philip  IV.  of  Spain 
Veronese,  P.     St.  Gregory  the  Great  and  St.  Jerome 

Vincent,  G.     Greenwich  Hospital 

Vos,  P.  de.     A  Peacock  and  Cock  Fighting 

Walker,  J.     The  Bathers 

Waller,  S.  E.     One-and-Twenty 

Waterhouse,  J.  W.     Marianne,  Wife  of  Herod       . . 
Williams,  W.     Courtship  and  Matrimony  .  . 

Wilson,  R.     Solitude  

Zoffany,  J.     James  Quin,  the  Actor 
Pottery,  Porcelain  and  China. 
Chinese  Beakers 
Urbino  Dishes 

K  El  1      ■ 


Fraser,  Mr.   James  Leslie.     Disposal  of   Jacobite 

Rehcs  and  Highland  Curios '9° 


Statuette  Portrait  of  Shakespeare 
fapestry,  Brussels  Panels 


$ 


% 


kl 


/ 


The   Collection    of    Pictures   of 
German    Emperor  By   J 

The  Royal  Gallery  of  paintings  by  the  old 
masters  in  Berlin,  which  is  now  to  be  seen  in  the 
splendidly  arranged  Kaiser  Friedrich  Museum,  was 
founded  in  the  early  half  of  the  nineteenth  century. 
In  rS3o  King  Frederick  William  of  Prussia  nominated 
a  Commission  of  the  greatest  experts  on  the  art  of 
the  past  then  living  in  Berlin,  and  entrusted  them 
with  the  task  of  selecting  from  the  treasures  stored 
up  in  his  palaces  of  Berlin  and  Potsdam  a  large 
number  of  works  by  the  old  masters,  which  were 
to  be  added  to  the 
then  recently  created 
public  collection. 
This  Commission 
removed  from  the 
royal  palaces  whole 
waggon-loads  of  im- 
portant pictures,  and 
devoted  their  atten- 
tion particularly  to  the 
paintings  of  the  early 
Italian  and  German 
Schools,  and  to  the 
Dutch  masters  of  the 
seventeenth  century. 
These  pictures,  to- 
gether with  the 
magnificent  Solly 
collection,  formed 
the  nucleus  of  the  pre- 
sent gallery,  and  their 
places  on  the  empty 
walls  of  the  royal 
palaces  were  forth- 
with filled  with  copies 
and  works  of  minor 
importance. 

Under    these  cir- 
cumstances  it  was  PRINCESSE   Tti 


His    Imperial    Majesty   the 
Kirby   Grant 

only  quite  natural  that  the  general  public  imagined 
all  the  important  works  of  art — or  at  least  all  the 
pictures  of  real  significance— to  have  been  taken 
from  the  royal  collections,  especially  as  the  King 
himself  had  in  no  way  interfered  with  the  work  of 
the  Commission.  But  if  we  consider  that  the  Com- 
mission worked  in  1S30,  at  a  period  when  cold 
classicism  ruled  supreme  in  art,  and  when  Genelli's 
uninspired  large  cartoons  were  considered  to  rank 
among  the  world's  masterpieces,  we  can  well  imagine 
that  the  Commission 
set  little  store  by  the 
delightful  examples 
of  the  French  eight- 
eenth-century school, 
of  w  hi ch  Frederick 
the  ( Ireat  was  led  by 
his  admirable  taste  to 
form  so  unique  a 
gathering.  With  the 
exception  of  two 
comparatively  unim- 
portant little  paint- 
ings by  Watteau, 
which  are  now  at 
the  Kaiser  Fried- 
rich  Museum,  the 
hundreds  of  fine 
eighteenth -century 
pictures  were  left 
untouched.  Nor  is 
it  very  surprising  to 
find  that  the  King 
was  left  in  the  undis- 
tm lied  enjoyment  ol 
the  numero 
pies  of  the  art  of 
Lucas  I  ranai  h  and 
other    early   German 


The    Connoisseur 


masters,  which    had    been    brought    together  by  his 

I  01  the  discarding  ol  these  historically  interesting 
works  an  explanation  is  easily  found  in  the  fact  that 
the  early  German  Schools  have  only  in  comparatively 
recent    years    received   the    serious   attention    of   art 
historians   and   students.      It   is  far  more  difficult  to 
i    for   the    exemption    from    the    wholesale   re- 
nt quite  a  multitude  of  strikingly  fine  canvases 
by  Rub -ns  and  other  interesting  examples  of  various 
schools  of  the  fifteenth,  sixteenth,  and  seventeenth 
centuries — a  mistake  which   has  since   been  rectified, 
thanks    to    the    generosity    ot    the    present    German 
Emperor  and  the  King  of  Prussia,  which  has  enabled 
the   gallery    to   acquire    at    least    some  of  his    finest 
,    notably    the    early    Rembrandt   and    a   fine 
Rubens. 

The  circumstances  here  briefly  stated,  and  the 
knowledge  of  the  fact  that  Charlottenburg  was  looted 
by  the  Austrians  and  Saxons  in  1760,  when  many 
French  pictures  were  carried  off  or  ruthlessly  de- 
stroyed, account  for  the  impression  prevalent  down 
to  the  last  years  of  the  nineteenth  century,  that 
few,  if  any,  important  French  masterpieces  of  the 
nth  century  were  left  in  the  royal  palaces. 
>i"i.  ovi  1.  thi  ii  hool  was  held  in  such  slight  esteem, 
that  the  German  art  historians  of  the  'sixties  and 
practically  unanimous,  after  some  brief 
lildly  patronising  remarks  on  Watteau,  to  dis- 
miss the  rest  —  Lancret,  Rater,  Fragonard,  Boucher, 
and  even  Chardin — in  a  few  contemptuous  lines, 
which  is  scarcely  surprising  when  we  consider  that 
tlie  art  of  Velazquez  was  then  considered  of  small 
accounl  1    iared   with  thai  ol  Murillo !     Rut 

the  inevitable  traction  set  in  when  a  number  of 
the  wonderful  fetes  galantcs  pictures  collected  by 
Frederii  i  own  to  the  Berlin  public 

on  the  occasion  ol  the  Crown  run'-  i  silvei  wedding 
j  :  and  quite  a  sensation  was  caused  at  the 
turn  of  the  Century,  when  a  small  selection  of  these 
pictures  were  lent  by  the  German  Emperor  to  the 
e,rcat  Paris  Exhibition  of  [900.  The  true  extent  and 
.'  ence   of  the   tl  iii  torial   art   which 

are    still    distributed    over    the    royal    palai 

i  and   1 

d 
folio    publii  1     Seidel,   with    the 

: 


1 
I 


The  carefully  selected  pictures  comprise  seventy-two 
large  excellent  photogravure  plates,  and  12S  half- 
tones that  leave  nothing  to  be  desired  for  clearness. 
The  historical  study  of  the  gradual  growth  of  the 
collection  from  its  inception  under  Joachim  I.  to 
the  death  of  Frederick  II.,  whose  successor  did  not 
inherit  the  great  King's  passion  for  art,  is  from  the 
pen  of  Raul  Seidel,  whose  collaborators  have  divided 
the  task  of  describing  the  pictures  in  the  light  of 
modern  research,  Dr.  Friedlander  dealing  with  the 
early  German  and  Netherlands  Schools,  and  Dr.  Bode 
with  the  Italian,  later  Dutch,  and  French  pictures. 

The  history  of  art  at  the  Court  of  Brandenburg 
can  only  be  compared  with  the  art  in  the  neighbour- 
ing provinces.  The  poor  soil  of  Brandenburg  was 
not  favourable  for  any  kind  of  important  artistic 
development.  The  inhabitants  had  to  work  hard  for 
their  living,  and  it  was  only  centuries  after  the 
Hohenzollerns  had  become  the  rulers  that  the  poor 
country  was  able  to  produce  an  art  of  its  own.  All 
we  know  about  the  early  efforts  of  the  Electors  of 
Brandenburg  to  foster  art  is  their  desire  to  decorate 
the  churches  which  they  built  and  supported.  The 
oldest  of  the  altarpieces  is  a  triptych  now  preserved 
in  the  Hohenzollern  Museum.  This  highly  interest- 
ing work,  in  which  Dr.  Friedlander  has  recognised  the 
hand  of  "  Meister  Berthold  "  (or  Berthold  Landauer), 
who  may  be  called  the  founder  of  the  Nuremberg 
School,  and  the  ancestor  of  Albrecht  Diirer,  was 
painted  for  Frederick  I.,  the  first  Elector  of  Branden- 
burg, and  was  preserved  in  the  chapel  of  Kadol/.- 
burg.  It  came  to  Brandenburg  as  a  present  from 
the  parishioners  of  Kadolzburg  to  the  then  Crown 
Prince,  Frederick  William.  The  first  Elector  him- 
self, and  his  beautiful  wife  Elsa,  figure  upon  it  as 
donors.  Apart  from  this  picture,  all  knowledge  of 
the  early  developments  of  art  in  Brandenburg  is 
confined  to  such  information  as  may  be  gathered 
from  references  in  contemporary  chronicles  and 
records  of  occasional  orders  given  to  some  eminent 
painter  lor  a  portrait  of  some  member  of  the  reigning 
family. 

I  I  Renaissam  e  in  German  ait  in  the  first  half  of 
the'  sixteenth  centur)  naturally  also  bore  fruit  in 
Brandenburg,  especially  under  the  protection  of 
Joachim  I.  and  his  son,  Joachim  II.,  whose  brother, 
\|'  I  bi  imp  Albrecht  ofMayence,  was  one  of  the  most 

art   patrons  and  collectors  of  his  time.     His 
feature-,  ai  n  a  little  panel  representing  5/. 

1,  m  the  manner  ol    Lucas  <  ranaeh,  which  is 

panion  i.SV.  Ursula)  in  the  royal 

palace  at  Berlin.      01  the  vast  commissions  entrusted 

[oai  him  I.  and  Joachim   11.,  we 

shall  have  to  speak  latei  on.      1  urthei  east,  Joachim's 


The  Connoisseur 


cousin,  Duke  Albrecht  of  Prussia,  founded  an  art 
centre  at  Konigsberg,  but  the  main-  wars  that  were 
fought  in  these  unfortunate  eastern  provinces  caused 
nearly  all  the  pictures  to  be  destroyed,  or  to  be 
dispersed  over  all  the  world.  The  successors  of 
Joachim  II.  do  not  appear  to  have  fostered  the  fine 
arts  in  their  lands.  A  new  impetus  was  given  to  the 
growth  of  the  collection  under  the  Great  Elector,  who, 
at  the  early  age  of  eight,  whilst  slow  at  everything  else, 


instructed  his  London  agent  to  make  a  purchase  at 
the  sale  of  Sir  Peter  Lely's  collection,  which  was  held 
a  year  or  so  after  the  court  painter's  death.  The  only 
German  artist  who  appears  to  have  worked  for  the 
Great  Elector  was  Michael  Willman  (born  at  Konigs- 
berg, 1630),  of  whose  activity  a  proof  remains  in  a 
floridly  overcrowded  allegorical  composition.  But, 
on  the  whole,  Frederick  William  preferred  to  employ 
Dutchmen,  especially  for  the  purpose  of  having  his 


showed  a  marked  talent  for  painting.     At  thi 

fourteen  he  was  ■  nttol    ydenl  tinu    hisstudies. 

mnt  for  his  very 
marked  predilection  foi  1  »uti  h  art,  whii  h  induced  him 

later  not  only  to  pun  hase   many    works  by  the  Dutch 
masters,  but  to  em]  iloy  n 

ition  h ith  tin-   \ 
de  Renialme  and  ( lerrii  1 
itter  0  a  on  1 

purporting  to  b 
by  the  great  Italian  ma  1  covery  not  only 

law  action,  bul 
I 

that    he 


own  features  portrayed  for  presentation  to  other  rulers 
and  friends.  The  best  of  these  portraits  is  one  by 
Govaert  Flinck,  preserved  in  the  Berlin  Palace. 

Frederi<  k  I.  took  no  a<  tive  interest  in  art,  and  the 
growth  11I  the  collection  (hiring  his  reign  was  entirely 
a  legacj  left  to  him  by  Louise  Henrietta  of 
N01  did  his  sui  1  1  >sor,  the  stem  "soldier- 
king,"  William  I.,  inherit  the  Great  Elector's  taste  for 
the  art  ol  painting,  or  encourage  any  leaning  towards 
it  in  his  son,  I  d  rick  II.,  the  Great,  during  whose 
reign   th  were    filled   with  the  treasures 

which  now  constitute  the  importance  of  this  wonderful 
11.      Brought  up  under  a  rigidly  severe  military 
discipline  which    amount'  d  to  positive  cruelty,   this 
prince,  perhaps  in  a  spirit  ol  reaction  or  revolt, 


The  German  Emperors  Collection  of  Pictures 


became  a  passionate  admirer  of  French  esprit,  French 

literature,  and  the  elegant,  light-hearted  art  of  the 
painters  of  the/£tes  galantes,  whose  work  so  admirably 
reflects  the  artificial,  pseudo-arcadian  life  of  pleasure 
led  by  the  French  court  and  society  of  the  eighteenth 
century. 

Frederick  the  Great's  friendly  relations  with  Voltaire 
have  passed  into  history.  His  passion  for  French  art 
is  testified  to  this  day  by  the  vast  number  of  master- 
pieces by  Watteau  and  his  followers  which  decorate 
the  walls  of  the  royal  palaces.     And  just  as  his  inability 


brush  entirely  to  love,  and  not  to  history,  allegory,  and 
scripture.  It  was  only  later  in  life,  when  he  had 
become  satiated  with  the  paintings  ol  the/etes  ga/antes, 
that  he  turned  his  attention  to  the  masters  of  the  late 
Renaissance  in  Italy  and  Flanders,  and  confessed, 
again  in   his  favourite  tongue,   that 

"  fcitne,   j'aimais   Ovide, 
Vietix,  i'eslime   Virgile." 

Frederick  II.  began  his  purchases  of  French  paint- 
ings before  he  ascended  the  throne,  when  he  filled 


FETE     CHAMPETRE  EY      J.     B.     PATER 

to  attract  to  his  court  the  leaders  of  French  thought 
caused  him  to  bestow  his  royal  patronage  upon  men 
like  La  Mettrie  and  the  Marquis  d'Argens,  whose 
scurrilous  writings  and  systematised  immorality  had 
led  to  their  expulsion  from  their  native  country,  he 
had  to  be  satisfied,  in  the  sphere  of  art,  with 
the  services  of  Antoine  Pesne,  who  can  scarcely  be 
placed  in  the  first  rank  of  contemporary  French 
painters,  although  some  of  the  many  pictures  from  his 
brush  in  the  palaces  of  Berlin  and  Potsdam  prove 
him  to  have  been  an  artist  of  considerable  talent. 
Frederick's  ad  miration  for  his  court  painter  is  expressed 
in  a  French  poem — the  Great  King  always  showed 
marked  preference  for  the  language  he  had  so  assidu- 
ously studied — in  which  he  exhorts  him  to  devote  his 


the  walls  of  his  castle  of  Rheinberg  with  works  by 
Watteau,  Lancret,  Pater,  De  Troy,  Cazes,  Coypel, 
Van  Loo,  Boulogne,  Chardin,  Boucher,  and  Rigaud. 
For  a  long  time  Count  Rothenburg  made  purchases 
of  works  of  art  for  him  in  Paris,  and  secured  for 
him,  among  other  things,  Pater's  two  masterpieces, 
Moulinet  and  Dance  at  the  Garden  Pavilion,  and 
some  Watteaus,  together  with  a  few  forgeries  of 
pictures  purported  to  be  by  the  great  Italian  masters. 
Throughout  his  life,  Frederick  II.'s  correspondence 
with  his  agents  proves  that  the  forger's  craft  flourished 
then  as  it  does  now.  There  are  constant  recrimina- 
tions about  doubtful  pictures,  overcharges,  and  so 
forth.  Watteaus  were  manufactured  for  him  by  the 
score,  when   it   became    known   that   his  agents   were 


The   Connoisseur 


searching  tor  them.     On  one  occasion  Mettra  made 

him  pay  60,000  livres  for  two  Madonnas  by  Raphael 

rble  {sic),  which  arrived, 

1,   broken  to  pieces.      In  r.76]   Gotzkowski, 

another  dealer,  sent  him  a  whole  consignment  of 
worthless  copies  after  the  Italian  masters,  about 
which  the  Marquis  d'Argens,  who  appears  to  have 
been  wholly  ignorant  in  matters  of  art,  had  reported 


Lancret  type,"  and  requires  pictures  by  Rubens,  Van 
Dvck,  etc.  In  the  following  year  Darget  negotiated 
for  him  the  purchase  of  Correggio's  Leda,  which  is 
now  one  of  the  treasures  of  the  Kaiser  Friedrich 
Museum.  The  only  pictures  mentioned  in  a  letter 
to  his  sister  in  1755,  in  which  he  states  that  he 
has  already  one  hundred  pictures  in  his  gallery  at 
Sanssouci,   and  expects    fifty    more    from    Italy   and 


■     [ON      01       I  0\  I  BY     J.    F. 

to  the  King  in  '  ■  Fredi  nek 

himself,  irobably  lacked  the  expert  know- 

11 
imitation,  had  excellent   taste  and  very  decided  views. 
ol    his  agents,   hi 
paintings  by   Lemoine   and    Po 
quite    nice  truth,  they 

O  ild    and 
unpleasant,  and   I   do  not  like   tl 

1  ]  k's  tasie.  which  made  him 

himself 
witli  the  same  enei 
occurred   about    1751,    111    which    year    h 


Flanders  to  complete  this  gallery,  are  the  Leda  and 
other  woiks  by  Italian  masters. 

In  times  ot  peace  and  ol  war,  from  the  day  of  his 
youth  to  his  old  age,  Frederick  the  Great  pursued 
his  collecting  hobby,  although  towards  the  close  of 
his  lite  the  state  of  the  exchequer  and  lack  of  space 
on  the  walls  of  his  palaces  embed  to  .1  certain  extent 
Ins  eagerness  to  add  still  further  to  a  collection  that 
had  already  assumed  enormous  proportions.  With 
In  d<  .nil  the  history  ol  the  growth  ol  the  royal 
■  olli  •  tion    1  -in   S    to  an  abrupt   close. 

Although  the  last  in  ordi  1   ol   dab  .  the  pictures  of 

German  Emperor's  1  ollection 

must   be  given  honoui   1      place,  owing   nol   onlj    to 


The  German  Emperor  s  Collection  of  Pictures 


CD     HIS     SISTER 


\Y  [ERWAKl'S 


their  numerical  preponderance,  but  even  more  to 
their  artistic  importance.  The  list  begins  with  Pierre 
Mignard,  the  painter  par  excellence  of  the  pompous 
aye  of  "  King  Sun, "  who  himself  is  here  depicted 
on  a  prancing  steed,  a  figure  of  Victory  or  an  angel 
hovering  above  his  head  with  a  laurel  wreath.  A 
very  similar  portrait  of  Louis  XIV.,  showing  the 
same  strange  combination  of  rococo  wig  and  Roman 
armour,  is  at  the  Palace  of  Versailles.  In  its  most 
accomplished  form,  the  chilling  classicism  of  that 
age,  which  drew  its  inspiration  not  from  nature  but 
from  Ovid  and  from  Roman  sculpture,  is  represented 


by  two  canvases  by  Louis  de  Boulogne,  of  whose  less 
gifted  son's  art  the  palaces  hold  seven  examples, 
including  a' Mars  and  Venus  with  sporting  amorini, 
in!  which  ^we  lm'1  l  glorious  Botticellian  motif 
enfeebled  bj  constant  repetition  through  the  ages. 
The  Bath  of  Bathskeba  is  undoubtedly  the  finest  of 
the  live  pictures  by  .ban  Raoux,  who,  whilst  still 
following  the  despotically  imposed  Italian  tradition, 
began   in  some   ol    his    paintings   to   devote   himself 

to   scenes   from   daily    life. 

To  the   period   of  transition   from  the  centurj    ol 
allegory  and    pompous    posing   to    thai    ol    th 


The   Connoisseur 


galantes  belong  also  Francois  de  Troy  and  his  son 
Jean  Francois  de  Troy.  Both  of  them  were  still 
devoted  to  mythological  composition,  but  the  father 
excelled  in  portraiture,  as  is  testified  bj  his  excellent 
painting  of  an  actress  in  the  pan  of  Sophonisbe, 
dated  1723;  whilst  his  son  displayed  his  gifts  best 
in  his  scenes  ol  elegant  life.  To  this  category 
belongs,  despite  it--  somewhat  harsh  colour,  the 
important  Declaration  of  Love,  painted  in  1 731,  a 
well  disposed  and  carefull)  wrought  piece,  which  is 
particularly  remarkable  for  the  exquisite  rendering  of 
1  ostum  ories.      It   is  by  far   the   most 

important  of  this  artist's  seven  pictures  in  the  Imperial 

We  now  conru  to  the  group  ol  pictures  by  Watteau 
and  his  followers,  the  like  ol  which  is  not  to  he  found 
in  any  of  the  world's  collections.  Frederick  II.  was 
particularly  anxious  to  adorn  his  palaces  with  the  best 
produi  tions  of  Watteau's  brush,  and  his  agents  were 
lucky  in  obtaining  from  M.  de  Julienne  the  famous 
sign  painted  for  C.ersaint  in  eight  mornings  after  the 
:  -  return  from  England,  in  1721,  the  year  of 
his  death  ;  and  other  works  of  unrivalled  importance. 
tndei  d,  even  leaving  aside  that  epitome  of  Watteau's 
genius,  known  .1-  UEmbarqnement  pour  Cythire,  all 
the  thin  in  thi    Emperor's  palace    dati 

from  the  master's   best  years,  when   perhaps  the  con 
sumptive's  presentiment  of  the  shortness  of  the  span 
allotted  to  him  spurred    him    to    restless  and   feverish 
mil    made   him   pour   out  the   wealth  of  his 
visions  ol  inimitable  beauty— visions  oi 

Ol     JO)    and     love    and    aloofness    from    sordid 

cares    that    are    yet    tinged    with    a    strange    sadness. 

This   haunting  sadness  seems    to    have  1  scaped   the 

■is  in  their  otherwise  admirable  summing  up 

of  Watteau's  art  : — ■ 

"The  goat  poet  of  the  eighteenth  century  is 
1  li  work  is  filled  with  the  1  legam  ol  a 
world  beyond  human  ken — the  dream  creation  ol  a 
pout's  mind.  From  the  Staff  of  his  brain,  sinm  from 
his  artist's  fancy,  woven  with  the  web  ol  his  young 
eid  fairy  flights  wing  their  way.  He 
drew  from  his  imagination   em  hauled  visions,  and   an 

-  omprehension  ol   his  age  ; 
arian.     Oh 
theatre  tble  a   life  !     Oh  !  pro- 

0 

1 

s   make   a 


lawns?  What  deep  and  tender  and  translucent 
greenery  has  strayed  hither  from  Veronese's  palette? 
Garden  shrubberies  of  rose  and  thorn,  landscapes  of 
France  set  with  Italian  pines !  Villages  gay  with 
weddings  and  coaches,  decked  out  for  feast  and 
holiday,  noisy  with  the  sound  of  flutes  and  violins  as 
they  lead  the  procession  to  where,  in  a  Jesuit  temple, 
Opera  weds  with  Nature  I  Rural  stage  where  the 
curtain  is  green  and  the  footlights  flowers,  where 
French  comedy  steps  on  to  the  boards  and  Italian 
comedy  capers  I  Enchanted  isles,  cut  off  from  land 
by  a  crvstal  ribband,  isles  that  know  not  care  or 
sorrow,  where  Repose  consorts  with  Shadow  !  Who 
are  these  who  come  slowly  sauntering  along  paths 
that  lead  to  nowhere?  And  these,  resting  on  their 
elbows  to  gaze  at  clouds  and  streams  ?     .     .     ." 

In  the  Embarquement,  which  is  the  elaborated  and 
far  more  complete  version  ol  his  "  diploma  "  picture 
now  at  the  Louvre,  Watteau  has  given  the  supreme 
expression  of  all  the  vague  yearning  of  his  soul.  It 
is  in  an  absolutely  perfect  state  of  preservation.  The 
pendant  to  it — the  Arrival  at  the  Island — is  a  clumsy 
imitation  of  Watteau's  style  by  an  inferior  hand. 
Almost  as  tine  as  the  Embarquement,  and  especially 
remarkable  for  the  perfect  rendering  of  the  atmospheric 
landscape  setting  with  its  vanishing  distances,  is 
E  Amour  Paisible.  The  Netherlandish  derivation  of 
Watteau's  art,  which  is  so  apparent  in  his  technique, 
is  particularly  noticeable  in  the  Shepherds,  a  some- 
what earlier  picture  in  which  the  protagonists  do  not 
belong  to  the  master's  world  of  imagination,  but  are 
as  real  in  their  rusticity  as  the  dancing  and  carousing 
peasants  of  Teniers  and  Ostade.  In  the  very  beauti- 
ful The  Dance  and  The  French  Comedy  an  unusually 
large  scale  is  adopted  for  the  figures.  The  dainty 
and  winsome  little  maid  in  the  former  picture  has 
inspired  a  contemporary  poet  to  the  lines  which 
appear  under  an  old  engraving  of  this  picture  : 
"  Iriv  e'est  de  bonne  heme  avoir  l'heure  de  la  danse, 
1  les  tendres  mouvements, 
Lui  nous  font  tous  les  ,  nu-,  ■  -imnaiiie  a  la  Cadence, 
Le  gout  <|iie  vein-  sexe  a  pout  les  instruments." 

Not  all  the  Watteaus  in  ih     Emperor's  collection 

are  as  w  the  i  ns  So  far  enumerated. 

In  The  LoVi   I  tson  the  pigment  has  suffered  to  such 

an  extent  that  the  whol      urfaci     ippears  furrowed 

ampitre  has  been  so  lib  rail] 

■  ornpl  tely   lost   its  charm  ;   the 

,  tie-  landscape  lacking  in  atmosphere. 

The   Bridal  Procession,   an    unusuallj    crowded    but 

less    splendidly    arranged    composition,    has 

pi    in    the    charmingly 

in    heads  :    and    althou  racks    have 

bi   in  skilfully  filled  by   Prof,   Hauser,  the  pi«  ture  in 


MiijyitfWiUHtfwjwMy^ 


RA    SISTO    l> I.I.I. A    KOVF.HE  BY    BERNARDINO    DE'    CON! 


The   Connoisseur 


\ts  pr,  sel  ■.     more  of  the   i   storer's   work 

than  of  Watteau's  original  paint.     Another  important 
the  Dance  in  : 

i     ,.,,  h  Gallery.     Gersaints  Sign, 

rut  into  without  the  balance  of  the  two 

parts  hi  the  composition  being  materially  affected,  is 

cements, 

mi  rue   position   amor  !    his   lati  i    works 


of  both  painters'  finest  performances.  It  is  question- 
able whether  any  collection  in  France  can  boast  of 
Lancrets  of  such  excellence  as  Le  Moulinet,  Blind- 
Man's  Buff,  ami  the  Assembly  in  the  Garden  Pavilion  ; 
or  Paters  that  can  rival  the  admirable  Fete  Champetre, 
the  Assembly  by  the  Fountain,  and  the  Soldiers  before 
an  Inn  and  Soldiers  on  the  March,  which  are  so  close 
an  approach  to  Watteau  as  to  justify  the  conclusion 


o    of  a  fam  iful 
world  n  \ 

i  nil  than  the  li.t  ol    VVatteaus   is 

itatii  n  -I  il      ma'sti  i  ■  followers,  Lancret 

.11  id  I  '.it.  r.  v.\  i><  took  from  him  the  subjects i  and  typ    , 

i 
and    qualil  j 
of   pign  !        o    ■  mi    purpose    h 

i  samples  of 

I'ater,  who. 

i 
. 

nets    than    to    li: 


thai    they  were   begun   by   the   master,  and   finished 

alter    hi.  death  b\    I'ater. 

The    intimaq    and    homelj    eh. oi    Chardin's 

famous  companion  pictures  la  Pourvoyeuse  (dated 
1738)  .mil  La  Ratisi  use,  replicas  ol  which  are  in 
ile  I  iechtenstein  Gallery  in  Vienna,  form  a  pleasing 
contrasl  to  tb  artificial  atmosphere  of  these  minor 
:■  1  Sonn  whal  ol  .11  nriosity, 
owing  i"  Hi    facl  thai  ;'  it        re  life  -1-"'  in  scale, 

Sealing  a  letter  ol  1733. 
/,•  Dessiuatem  <  clo  ly  1  lal  d  to  the  I  'ard  I  'astl 
of  U    Henri  d     Rothsi  hild     1  ollei  tion,  and  probably 

,iin    model. 

Spai  e  does  nol  permit  to  enumerate  the  bewildering 

P    me's  pictures  in  the   Kaiser's 

ilthough    spei  ial    m  ntion     hould   be   mad- 


The  German  Emperor  s  Col  lee  t  ion  of  Pictures 


ot  the  historically  important  group  of  Crown  Trince 
Frederick  II.  with  his  sister  Wilhelmins,  in  which 
the  future  soldier  king  is  depicted  at  the  age  of 
three  with  a  large  drum,  as  though  the  military  spirit 
were  already  active  in  him  in  his  tender  years.  The 
art  of  Pesne  can  only  be  studied  in  this  collection, 
which  contains  practically  his  life  work.  11<  was 
born  in  Paris  in  16S3,  studied  first  under  his  fathei 
and  his  uncle  de  la  Fosse,  went  to  Italy  in  1703, 
and  was  much  influenced  in  Venice  by  Audi  . 
Celesti.  He  was  called  to  the  Berlin  Court  in 
1710,  and  became  First  Court  Painter  to  Frederick 
William  I.,  with  an  annual  pension  of  1,000  thalers. 
From  that  date  to  his  death  at  a  mature  age  he 
continued  to  devote  his  diligent  and  able  brush  to 
the  service  of  the   Prussian    Kings. 

Of  other  French  painters  represented  at  Potsdam, 
Sanssouci,  and  Berlin,  it  is  only  necessary  to  mention 
Hyacinthe  Rigaud,  Nattier,  whose  portrait  of  Princesse 
Talmont  is  a  particularly  pleasing  example  of  his 
decorative  portraiture,  Quentin  La  Tour.  Boucher, 
Van  l.oo,  and — one  of  the  few  acquisitions  of  more 
recent  days — a  replica  of  David's  Napoleon  1.  on 
Horseback  at  Versailles. 

Comparatively  few  German  and  1  Hitch  pictures  of 
•  iii\  importance  have  remained  in  the  Imperial  palaces. 
A  portrait  of  Durer  by  himself,  with  an  inscription 
which  gives  not  only  a  wrong  date  for  his  death,  but 
professes  to  represent  the  master  in  1503,  is  merely  a 
copy  of  the  Prado  portrait  of  1498.  More  interesting 
is  the  signed  and  dated  Caritas,  or  rather  a  Virgin 
and  Child,  with  angel,  by  Hans  Baldung  Grien.  But 
the  strength  of  this  section  lies  in  the  ample  repre- 
sentation of  the  Cranachs,  father  and  son,  who  from 
their  picture  factory  in  Wittenberg  supplied  the  North 
German  Courts  with  numberless  portraits,  altarpieces, 
mythological,  historical  and  hunting  subjects.  In 
view  of  the  wholesale  turn-out  of  Cranach's  workshop 
— it  is  on  record  that  on  one  occasion  sixty  copies 
were  ordered  from  one  portrait  for  the  Court  of 
Saxony,  such  portraits  being  used  much  in  the  manner 
of  the  medals  in  Italy — and  of  school  copies  being 
sent  out  with  the  master's  signature,  the  winged 
serpent,  it  is  exceedingly  difficult  to  establish  the 
authenticity  of  many  of  these  pictures  as  the  master's 
actual  handiwork,  especially  after  1520,  when  the 
factor)  was  in  full  swing.  Put  there  can  be  little 
doubt  that  the  firmly  drawn  portrait  of  a  lady,  with  a 
chain  and  girdle  composed  of  the  letters  1!  and  S, 
which  was  formerly  ascribed  to  1  Hirer,  is  an  authentic 
work  by  the  elder  Cranach.  The  initials  have  led  to 
the  supposition  that  the  portrait  represents  Barbara 
of  Saxony.  A  portrait  of  Joachim  I.,  signed  in  the 
correct  manner  and  dated    1 5  ^ <j,  is  presumably  from 


the  same  hand,  although  the  costume  appears  to  In 
studio  work. 

By  the  younger  ( Iranach  is  a  portrait  ol  Joai  him  II. 
in  sumptuous  attire,  which  is  apparently  based  upon 
the  study  from  nature  in  the  Dresden  Gallery.  The 
Baptism  of  Christ,  which  bears  the  date  of  1550,  is  .1 
typical  instance  of  the  naive  treatment  of  scriptural 
subjects  in  German  art  at  a  time  when  Italy  had  Ion- 
discarded  all  traces  of  the  primitive  conception  of 
art.  The  crowded  group  gathered  on  the  bank  of  the 
Jordan  (which  the  artist  with  characteristic  disregard 
of  geography  makes  wend  its  course  past  Wittenberg), 
includes  portraits  of  Luther,  Melanchthon,  the  eldet 
Cranach,  Joachim  II.  ami  his  wile,  and  Joachim  and 
G  orgi  ofAnhalt.  Even  more  striking  as  an  instance 
■  if  the  manner  in  which  German  art  became  permeated 
with  the  Renaissance  spirit  before  it  had  attained  to 
classic  freedom  in  the  rendering  of  the  human  form, 
is  Cranach's  deliciously  quaint  and  naive,  if  ill-drawn, 
Judgment  of  Pirn's.  The  artist's  ingenuousness  is  tin 
more  remarkable,  as  over  half  a  century  had  passed 
since  Botticelli  had  painted  his  Primavera  and  his 
Birth  of  Venus,  to  which  this  Judgment  of  Paris  bears 
the  same  relation  as  the  Reclining  Nymph,  of  about 
1525-30,  does  to  Giorgione's  and  Titian's  marvellous 
renderings  of  Venus.  The  retrogressive  character  of 
(  Yanaeh's  art  becomes  even  more  apparent,  if  one 
compares  his  Adam  and  Eve  in  the  German  Emperor's 
collection  with  Van  Eyck's  figures  on  the  shutters  of 
the  Ghent  altarpiece,  which  stand  at  tile  very  dawn 
of  Northern  art.  Childish  anatomy,  combined  with 
dainty  elegance,  is  again  to  be  noted  in  the  fairly  late 
half-figure  of  Lucretia.  There  is  far  more  action  ami 
dramatic  feeling  in  the  Passion  Scenes,  forming  part 
of  the  series  of  which  a  few  have  gone  to  the  Kaiser 
Friedrich  Museum.  The  Judgment  of  Paris  belongs 
to  a  series  of  upright  panels,  which  also  include  the 
Bath  of  Bathsheba,  David  and' Goliath,  and  The 
Judgment  of  Cambyses.  The  only  other  German 
works  of  note  are  three  portraits  by  Holbein's  follower, 
Barthel  Bruyn. 

There  is  no  need  to  dwell  upon  the  numerous 
large-  allegories,  pastorals,  mythological  pieces  and 
pictures  of  the  Chase  painted  by  the  Dutch  followers 
of  the  academic  tradition  at  Utrecht,  and  l>\  such 
flemish  artists  as  Boyermans,  Willebouts,  Rombouts, 
and  Ryckaert  lor  the  dee. nation  ol  the  (  ireat  Eli  1  lot's 
and  the  early  Prussian  kings'  palaces.  Only  few 
Dutch  pi' inn's  have  remained  that  represent  the  art 
of  the  Rembrandl  School  and  ol  the  "s  nail  masters," 
and  chief  among  them  is  one  of  Rembrandt's 
earliest  works  depicting  Delila  betraying  Samson.  It 
was    painted    in    1628,    and     thus    being    one     of    the 

master's  earliest  pictures,  shows  the  weaknesses  ol  his 


The    Connoisseur 


immature  style,  with  a  clear  indication  of  the  promise 
of  his  great  future.  Rembrandtesque  in  character  is 
also  Jan  Livens's  portrait  of  Sultan  Soliman,  and  in 
a   less  :  Flinck's  Bathsheba.     One   of 

the  treasures  among  the  hutch  picture-,  is  a  small 
ian  portrait  oi  a  youth  by  Thomas  di  RLeyser, 
similar  in  type  to  the  pictures  al  thi  Dresden  and 
Frankfort  Galleries.  There  an-  also  some  interiors 
with  peasants  by  Molenaer,  an  early  picture  ol  two 
smoking  women  bj  Jan  Steen,  and  a  showj  portrail 
group  b)    Netscher. 

It  is  surprising  thai  quite  a  number  oi   important 

works  by  Rubens  and   Van   Dyck  1 1 . i  x .    remained  in 

tli    [mperial  palaces.     In  tin    case  ol  the  former  the 

:    pictures,   such   as  the    Birth 

oj    Venus,  V<       >    and  Adonis    (which   is  almost 

identical    with    tie-    canvas   at    the    Hermitage),    the 

and  Dejaneira,  Christ  triumphing  over  Death 

and  Sin.  and  the  Four  Evangelists  (formerly  ascribed 

to  Van    Dyck),   ate   studio  works  after  the   master's 

designs,    and    with    evidences   of  his    own    handiwork 

in  the  finishing  touches.      Entirel)   b)    Rubens's  own 

hand  is  tin-   verj    beautiful  Mother  and  Child,   which 

o    -fwc-like   in  conception   that    it    can   scarcel) 

■I     accepted    as    a    Virgin    and   Infant    Saviour:    a 

signed  portrait  oi  Augustus,  which  belongs  to  a  series 

ioned    b)    Frederick    1  [enry  oi   Orange   from 

Rubens,    Hoeck,    lew-ins,    and    Terbrugghen ;    the 

delicious   Holy   Family  of  the   Work  Basket,  a  copy 


of  which  is  at  the  Vienna  Museum  ;  and  a  large 
brilliant  sketch  of  the  Finding  of  Romulus  and 
Remus. 

Most  of  the  Van  1  h'eks  belong  to  his  early  youth, 
when  he  was  either  still  working  in  Rubens's  studio 
or  was  at  least  entirely  under  his  influence.  A  picture 
of  A  River  God  is  a  fragment  cut  out  of  one  of  these 
early  works.  Of  gnat  importance,  as  showing  the 
master)  to  which  Van  Dyck  had  attained  at  the 
early  age  of  sixteen,  are  the  two  paintings  of  the 
Virgin  Man  and  Christ,  which  may  be  dated  with 
a  fair  amount  of  certainty,  since  they  correspond  with 
the  apostle  series  painted  by  him  in  1615-16.  A  few 
years  later  in  date  is  the  Head  of  a  Man  al  Prayer, 
which  is  marked  1>\  great  breadth  of  modelling.  Both 
the  Five  Children  of  Charles  I.  and  the  St.  Jerome 
can  only  be  accepted  as  studio  works  ;  whilst  the 
charming  little  nude  Skating  Boy  is  certainl)  not 
by   Van    1  >y<  k. 

The  few  Italian  pictures  at  the  Sanssouci  Palace 
are  almost  without  exception  from  the  Solly  collection, 
and  include,  besides  an  important  profile  portrait  of 
Sixtus  [V.'s  nephew,  Fra  Sislo  delta  Rovere,  by 
Lodovico  Moro's  favourite  portrait-painter,  Bernardino 
de'  Conti,  a  signed  Madonna,  by  the  Veronese  Paolo 
Moranda:  the  Decapitation  of  St.  John,  by  Girolamo 


Romanino  ; 

Christ  at    I'.mmaus,    by    Francesco   da 

Ponte,  Jaci 

po    bassano's   son  ;  and   a   Madonna   and 

Saints,  whi< 

1:  1  >r.  bode  ascribes  to  Carletto  Veronese. 

The    Montgolfiers 


By    Mrs.    F.    Nevill   JacKson 


"  Balloons  occupy  senators,  philosophers, 
ladies,  everybody" — this  remark,  made  by  Walpole 
concerning  aeronautical  experiments  in  England, 
applied  with  equal  force  to  such  matters  on  the  Conti- 
nent, and  it  is  interesting  to  note  the  mark  made 
by  this  popular  craze  on  the  china  fans  and  other 
bric-a-brac  of  the  latter  half  of  the  eighteenth  century. 
Joseph  Michel  Montgolfier  was  born  in  1740,  being 
one  of  a  large  family  ;  his  father  was  a  paper  manufac- 
turer. Joseph  ran  away  from  school  at  the  age  of 
seventeen,  and  after  various  adventures  was  found  and 
brought  home,  and  again  handed  over  to  his  professors 
and  set  to  study  theology,  which  was  most  distasteful 
to  him.  He  found  a  treatise  on  higher  mathematics 
at  this  time,  and  became  enthusiastic  on  this  subject  : 
his  calculations  and  study  led  to  practical  experiments 


in  pneumatics,  and  he  invented  several  machines  for 
the  improvement  of  the  manufacture  of  paper,  which 
were  used  in  a  separate  establishment,  as  his  father 
would  have  none  but  the  old  methods. 

The  inventor  of  anecdotes  has  not  failed  to  supply 
a  story,  in  which  a  shirt  airing  before  a  lire  became 
buoyant  through  being  inflated  with  hot  air,  and  thus 
supplied  the  idea  to  Montgolfier  of  aerial  navigation 
by  means  of  the  inflation  of  a  bag  with  gas  or  lightened 
air,  but  in  reality  his  close  scientific  study  led  Mont- 
golfier to  his  discovery. 

There  is  an  interesting  print  which  shows  him  in  his 
study  contemplating  a  picture  of  Gibraltar,  which  was 
at  that  time  being  besieged.  "Gerait-il  done  im- 
possible que  les  airs  oppressent  un  mo/en  pour 
pe'ne'trer."     Thus   we   see   the   idea  that  the  balloon 


FAIENCE     l'l  Alts     AND     UIMi 


The   Connoisseur 


should  be  used  in  warfare  was  almost  simultaneous 
with  the  discovi  ry  < 

The  two  Sevres  teacups  and  saucers  which  are  shown 
in  our  illustration  are  elaborately  painted  with  scenes 
in  which  military  men  are  manipulating  the  Mont- 
,  as  they  were  then  called,  and  on  the  handsome 
pendant,  set  with  paste  jewels,  a  well-defined  parachute 
is  seen  hanging  below  the  balloon. 

By  1 7S3  the  two  brothers  were  working  together, 
the  younger,  Etienne,  having  given  up  architecture 
to  join  tl  ness  of  his  father.    The  similarity 

of  their  tastes  and  studies,  and  their  passionate 
devotion  to  each  other,  made  their  experiments  for 
perilling  the  balloons  of  immense  value.  On 
[une  5th,  1783,  a  public  exhibition  was  given  at 
Annonai,  when  a  balloon  of  silk  lined  with  paper,  of 
no    feet    circumference,   was    sent    up    with    perfect 

In  the  following  September  an  exhibition  was  given 
before  the  court  at  Versailles,  and  later  the  same 
model  was  used,  a  basket  being  attached  containing 
animals,  which,  after  an  ascent,  returned  to  the  ground 
unharmed.  The  idea  that  the  air  was  conquered 
appealed  ecstatically  to  the  imagination  of  the  courtiers, 
and   Pilatre  de   Rozier  and  the   Marquis  d'Orlandes 


volunteered  to  be  the  first  travellers  in  an  unattached 
balloon.  This  adventurous  ascent  was  made  at  the 
Chateau  de  La  Muette  with  complete  success,  and  in 
the  following  year  Joseph  Montgolfier  became  the 
third  aeronautic  traveller. 

A  small  medal  was  struck  by  means  of  a  subscrip- 
tion, under  the  direction  of  M.  Faugaes  de  Saint 
Fond,  to  commemorate  the  ascent  at  Versailles — a 
specimen  now  in  the  house  of  Madame  de  Sevigne,  in 
Paris,  shows  portraits  of  the  two  brothers  in  profile  ; 
another  medal  of  the  same  design,  but  larger  in  size, 
was  issued  to  commemorate  the  ascent  at  the  Chateau 
de  La  Muette. 

The  brothers  were  made  correspondents  of  the 
Academy  of  Science.  Etienne  was  decorated  with 
the  Order  of  St.  Michael,  and  Joseph  was  given  a 
pensionof  1,000  francs,  while  their  father  was  ennobled. 
Louis  XVI.  gave  40,000  francs  for  the  purpose  of 
further  experiments  ;  these  were  being  carried  out 
when  the  Revolution  put  an  end  to  all  such  useful 
work.  Though  active  experimenting  was  no  longer 
possible  the  brothers  continued  their  work  calmly 
through  all  the  turmoils  of  that  stormy  time.  Etienne 
was  several  times  saved  from  arrest  through  the  de- 
votion of  his  workpeople,  who  adored  him,   but  the 


, 


MAN  ON   HORSEBACK 
BY    T.    DE     KEYSER 

In  the  collection  of  H.I.M.  the  Gc 


n,  Empe 


Tli  c   Mou  tgolfiers 


Terror  had  a  disastrous  effect  upon  his  mind,  and  he 
died  in  1799. 

Joseph  survived  his  brother  eleven  years,  and  during 
that  time  improved  his  balloons,  and  invented  mam- 
useful  mechanical  appliances,  especially  connected 
with  hydraulics.  He  wrote  little,  his  best  known  works 
being:  Discours  sur  /'Aerostat,  published  in  17S3  ; 
Memoire  sur  la  Machine  Aeroslatique,  17S4  ;  and  Les 
/   >yagt  un  Aerieus,  17S4. 


In  these  days  of  specializing  in  collecting  early 
ballooning  would  make  an  excellent  theme  for  the 
small  collector.  The  prints,  both  French  and  English 
— for  Lunardi,  the  Italian,  created  in  England  just 
such  a  furore  as  did  the  Montgolfiers  in  France 
— are  extremely  interesting,  and  every  trinket  in 
enamel,  porcelain,  leather,  and  ivory,  was  utilised  at 
this  time  for  representing  the  novel  means  of  aerial 
navigation. 


.  c  1    1  ■  1  \  i  h  b 


A  Collection  of  Earrings 


By  Mrs.  Herbert  Bennett 


With  all  the  races  of  the  world,  from  the 
to  the    most    highly  civilized,  earrings 
have  been  a  favourite   form   ol   ornament  from  time 
immemorial.     Their  origin  is   beyond  history.     Bar- 
baric it  must    have   been;    but    their    earliest    shape 
ami     substance,     their     possible     significance,     the 
material  out  of  which  the)    were  fashioned,  and  the 
identity  ol  the  man  01    woman   who,  greatly  daring, 
nade  and  wore  them,  are  all  lost  in  the  mists 
iiiity. 
It  is,  however,  known  with  certainty  that  th 

n    .    the  !'■  rsians  and  Babylonians, 
1  Lybians,  and  <  iuthagenians,  and  were 

worn  by  both  -    ■ 

on  th     i  ontrary,  they 

were  worn  exclusively  In   women,  and  probably  onlj 

o  11  n  of  th.-  highest  rank.       In   the  Iliad  Juno 

ling  herself  wil  h  ean  ings    -which 


are  described  with  great  care  and  accuracy  as  con- 
sisting of  three  drops  resembling  mulberries.  Pliny 
and  Seneca  both  mention  their  use  by  the  women 
of  their  time,  ami  it  must  not  be  forgotten  that  the 
ears  of  the  Venus  de  Mcdicis  are  pierced  to  receive 
them. 

Many  very  old  Egyptian  earrings  have  been  pre- 
served, some  of  such  beautiful  design  that  they  have 
been  copied  almost  in  detail  and  adapted  to  modern 
requirements. 

Coming  to  our  own  country,  and  nearer  to  our  own 
times,  we  find  that  during  the  reigns  of  Elizabeth 
and  James  I.,  earrings  were  worn  in  England  by  men 
as  well  as  women.  The  custom  is  frequently  n  fi  rred 
to.  Hall,  in  his  Satires,  speaks  of  the  "  ring,  d  i  u 
of  a  newly-arrived  traveller,  and  in  Every  Man  in 
his  Humour,  one  male  character  says  to  another, 
••  1  will   pawn   the   jewel   in   mine  ear."       Eong  since 


A    Collection   of  Earrings 


discarded  as  unmanly  by  the  majority  of  the  sterner 
sex,  it  is  strange  that  the  practice  has  still  clung  for 
centuries  to  the  hardiest  of  our  blood  and  race  : 
sailors  and  gipsies — the  wanderers  of  the  sea  and 
land — wear  earrings  to  the  present  day. 

With  a  history  so  ancient  and  so  honourable,  lend- 
ing themselves  as  they  do  to  the  greatest  beauty  of 
form  and  colour,  and  demanding  the  utmost  delicacy 
of  workmanship,  it  is  remarkable  that  earrings  have 
received  such  scant  attention  from  collectors.  A  few 
pairs  here  and  there  have  been  gathered  together, 
but  not  in  sufficient  numbers  to  give  any  idea  of 
the  scope  and  fascination  of  the  subject,  which  ranges 
from  the  merely  grotesque  to  the  highest  develop- 
ment of  the  goldsmith's  art. 


always  been  a  favourite  ornament  for  the  ear.  Seneca 
speaks  of  an  earring  set  with  four  pearls  and  says 
that  it  was  worth  a  patrimony.  Evidently  then  has 
been  a  revolution  since  those  days  in  the  relative 
values  hi   pearls  and   patrimonies. 

A  pair  of  Venetian  earrings  of  a  later  date  is  in 
the  shape  of  a  cap  of  liberty,  set  closely  with 
alternate  bands  of  turquoise  and  garnets  and  having 
one  small  yellow  topaz  just  under  the  opening  of 
the  cap.  Another  pair  of  Venetian  origin  bears- 
the  head  of  a  negro  exquisitely  wrought  in  black 
enamel  and  wearing  a  turban  of  white  enamel  and 
gold. 

From  Rome  comes  a  pair  of  long  cameo  ear- 
rings,   pale  buff  on  a  white  ground,  the  background 


k 


<f 


&¥&$ 


■  11  oof. 


,'•■■:■ 


It  was  recently  my  good  fortune  to  see  a 
collection  of  more  than  a  hundred  pairs,  the 
property  of  a  friend  who,  during  many  holidays 
spent  in  wandering  over  Europe,  has  made  a  point 
of  buying  a  pair  of  earrings,  the  older  the  better,  as 
a  memento  of  every  place  she  visited.  So  simply 
did  the  collection  begin,  and  the  result  is  nothing 
short  of  a  revelation. 

The  premier  place,  in  point  of  age,  must  be  given 
ti«  a  pair  of  mediaeval  Italian  earrings  bought  on  the 
Ponte  Vecchio.  Their  shape  is  an  elongated  hoop; 
the  upper  half  beaten  out  almost  to  the  fineness  ol 
wire,  and  the  lower  widening  into  a  hollow  basket 
cri  cent  of  open-worked  gold  in  a  very  ornate  leaf 
pattern.  These  earrings  are  the  same  back  and  front, 
some  of  the  leaves  on  either  side-  being  enriched  with 
Mil  and  white  enamel.  A  ruby  is  set  in  the  centre 
of  the  crescent,  and  its  lower  edge  ornamented  l>\  a 
hanging  fringe  of  little  Oriental  pearls. 

Next  comes  a  most  beautiful  pair  of  Italian  ear- 
rings in  fine  gold  and  pearls,  of  such  venerable  age 
that  the  pearls  are  beginning  to  crumble.      Thi      ha; 


The   Cap  ,■■  Venetian. 

■  Mh  ,.  n:  Uamoi 

being  carved  in  fine  diamond  pattern  ;  and  two 
beautiful  pairs  in  turquoise,  one  pair  being  of  a 
very  curious  bell  shape,  having  the  stones  set  in 
long  downward  lines  and  a  rosette  of  turquoise  at 
the  top  with  a  large  pearl  at  its  centre.  Naples 
contributes  an  exquisite  pair  of  earrings.  Thev  are 
formed  of  long  loops  of  the  finest  seed  coral, 
hanging  from  a  gold  crown  made  in  the  lightest 
ami  daintiest  filigree  work,  and  set  round  with 
turquoise.  At  the  top  is  a  small  coral  medallion 
carved  with  the  head  of  a  buy  and  set  in  a  frame 
of  filigree  gold  and  turquoise.  The  coral  is  a  yerj 
Im  colour  and  the  heads  the  smallest  that  Can  he 
cut. 

Amongst  the  Italian  earrings  are  two  beautiful 
specimens  of  the  rococo  style.  One  pair  is  in 
gold,  with  two  lumps,  one  inside  the  other,  caught 
together  by  a  smaller  lump  at  the  top,  and  lavishly 
set  with  various  coloured  stones.  The  other  is  of 
open  work  oxidized  silver,  shaped  like  a  rounded 
hield,  the  centre  set  with  a  ruby  surrounded  by 
tun  luoise. 


The    Connoisseur 


A    pair   of  old    Spanish    earrings   from    I'm  i 
one  o  i  tion.     No  less 

oui    inches  and    a    half   long,   there  size  alone 
to    respect. 
But    their    workmanship     is     I       itiful,     and     their 
onsidering  their  length 
and  th  ,vith  which  they  ai 

["he  i         design  are  thickl)  studded  with  dia- 

monds and  the  pear-shaped  stones  are  pale  pink  topaz. 
I  inish     ait     is    a 
of  i        irrings  in  filigree- 

's.'   less    than    live    tiers   go  to   make   up   the 
length,  "'  and    sewn    with    the 

finest  >erd  pearls.     A  verj   dainty  pair  comes  from 
These    also   are    in    filigree   work  in  an 


111.  collection  boasts  two  particularly  good  speci- 
mens of  the  Georgian  period,  one  being  extremely 
rare.  From  a  button  framed  in  filigree  gold  hangs 
a  pear-shaped  drop  nearly  four  inches  long,  drop 
and  button  alike-  being  of  the  clearest  and  purest 
white  cornelian.  The  shape  is  SO  graceful  that  the 
effect  is  not  in  the  least  heavy,  despite  its  length, 
and  the  stone  is  without  a  Haw.  About  half  an  inch 
from  the  bottom,  the  drop  is  girdled  by  a  line  gold 
i  inn.  fastened  in  front  by  two  leaves  in  filigree  work, 
and  a  tiny  forget-me-not  set  with  turquoise.  It  is 
most  unusual  for  "drop"  earrings  to  be  ornamented 
in  this  way.  The  other  pair  is  of  the  same  length 
anil  shape,  but  plainly  made  in  moss  agate,  with 
.1    verj    simple  gold  Setting. 


ntll-slm/iea 

■ 


,„/,„/., 


i :  hit   pattern,    stu<  Ided    lei  e   an.  I   there    w  ith 

p. -ails.       i  i        nape   i  lighl    and    pretty,   and 

hole    has    somewhal     thi     effeel    of    a    finely- 

■   nut.      Then    ar    two    pail  ■-   ol    long 

rings,    i  .in-     i  i    w  nh   diamonds, 

But     the     mo  '      I"  autiful     ol     all    the    Spanish 

collection    '  te    top,    sel    with    pearls,    to 

tached  an  i  lal .oral     gold  and  pearl  bow- 

This    in     its    turn    supports    two    large    gold    vine 

ly   di  signed   bum  h  ol 

earrings   made 

1  loop  set  with  dianv  mds,  am ! 

a    stiff    In-  i  the   centre. 

in  sented   by 

i     period 

I  irite    bum  h    ol 

nail  pearls, 

by  two 


["he  early  Victorian  earring  was  nothing  but  a 
modifii  ation  of  the  Georgian,  the  principal  dm 
being  that  the  drop  was  considerably  shorn  r.  <  H 
these  the  most  beautiful  is  a  pair  in  a  very  rare 
shade  ol  green  cornelian.  The  colour  is  indeed 
almost  indescribable.  It  is  neither  apple-green  nor 
water-green,  bul  something  jusl  midway,  and  has  a 
curious  limpid  tone  like  a  green  sea  in  sunshine. 
The  drops  are  cunningly  finished  with  diamond  tops, 
which  set  them  ofl  tdi  antage. 

A     pair     of     short     pear-shaped     drops     in     white 

sapphin  .    banging   from   marquisite   hows,   look    verj 

nd   pn  tty  ;  and  there  are  two  pairs  of  amber 

ol    i    mi  1  :d   amber,   the   other 

■    I  tops. 

Coral   earring-   were   verj    fashionable  during  this 

their  value  bein  rfei  ti I   their 

colour.    This  is  typified  \>\  a  pan  ol  drops  m  , 
settings   sh  I]-  d   like  ii>      i  up    ol    an   acorn,  and    In 
anothei    pah    ol  a  verj    unusual   design,  that   is  best 

d  as  all  straight   lines  and   light    angles.      The 


A  Collection  of  Earrings 


:       Gipsy  Hoof.  Emitre. 

"      ■ 

colour  of  the  first  pair  is  the  softest  pink,  as  delicate 
as  a  rose  leaf;  the  latter  is  of  so  deep  and  rich  a 
red  that   it  almost  approaches  crimson  lake. 

A  pair  of  long  crystal  earrings,  another  pan  si  i 
with  flat-cut  garnets,  several  in  filigree  gold  work, 
and  a  lozenge-shaped  pan  in  tortoiseshell  and  gold, 
all  date  from  the  middle  of  the  last  century.  So 
does  a  very  beautiful  pair  of  carbuncle  ear-drops, 
having  the  stone  ornamented  by  a  diamond  fly  with 
carbuncle  eves. 

The  "hoop"  ranings  are  a  class  to  themselves; 
and  here  a  pair  of  old  English  hoops,  set  with  Hat- 
cut  garnets,  can  be  compared  with  a  genuine  gipsy 
earring  in  line  red  cornelian,  and  with  two  pairs 
of  Empire  hoops,  one  set  with  pale  yellow  topaz, 
the  other  with  seven  emeralds  in  graduated  sizes. 
This     stvle     of    setting     is     verv    uncommon,     hoop 


AV,  0C0 


earrings  being  generally  ornamented  with  even-sized 
stones. 

Amongst  the  earrings  that  an-  unclassified  as  to 
period,  there  is  one  pair  of  very  quaint  Hat  ivory 
drops,  shaped  something  like  a  Turkish  slipper,  and 
having  the  toe  carved  in  relief  with  the  head  of 
Mary  Queen  of  Si  ots.  A  pair  of  Flemish  earrings 
in  pierced  gold,  in  shape  resembling  an  inverted 
Kg\ptian  fan,  and  a  pair  of  amethyst  and  turquoise 
drops  with  a  rosette  top,  are  both  beautiful  in  form 
and  colour,  while  a  pair  of  Dutch  peasant  '.airings 
quite  Indie  their  name,  being  pietU  and  delicate  to 
a  degree. 

Indian  hoop  earrings  in  fine  filigree  work,  tiger 
claws  set  in  gold,  a  pair  of  double  hoops  from 
Mexico,  in  'based  gold  and  pearls,  and  a  pair  of  the 
same   shape  in  a  line  shade  of  turquoise  blue  enamel, 


• 


'- 


. 


The    Connoisseur 


.  hai  hi  foi  lovers  ol   fine  work 

and  curios       \  t  drop  earrings  bought 

I  [agui    has  a    large  pearl  set  upon  the  stone, 

and   is   finished  by  an  -  laboratelj   i  hased   gold    top, 

thrown  up  with  lines  ol   black  enam 

But  nothing  in  the  who!    i  oil  :i  i  ion  is  mon    rari  h 

than    i   pair  ol   long   earrings   made  entirely 

in  pearls,      ["he  model  is  unmistakable,  the  execution 

marvellous.     It  is  a  fuchsia,  a  white  fuchsia  so  per- 


i . 


'a  / 


fectly  worked  in  tiny  sued  pearls,  that  not  a  vestige 
ol  gold  is  visible. 

It  is  not  possible  in  the  scope  of  this  article  to  do 
more  than  touch  upon  a  few  of  the  most  prominent 
items  in  an  almost  unique  collection,  but  it  may  at 
least  serve  to  show  the  variety  that  the  study  of 
earrings  offers  to  those  who  care  to  pursue  it.  Ir 
would  amply  repay  any  one  in  search  of  a  fresh  and 
practically  untrodden  field  of  interest. 


Some  Recently  Discovered  Miniatures  by  Robertson,  Plimer, 
Cosway,  Engleheart,  and  Smart  By  Dudley  Heath 


Miss  Emily  Robertson,  in  her  excellent 
volume  on  the  correspondence  of  her  father,  Andrew 
Robertson,  miniaturist,  publishes  amongst  other  very 
interesting  letters  'one  in  which  the  painter  describes 
his  first  visit  to  the  studio  of  Raeburn,  the  portrait 
painter.  It  was  at  the  age  of  sixteen  that  young 
Robertson  went  to  Edinburgh  to  study  landscape  and 
scene-painting  under  Nasmyth,  but,  he  says,  "  being 
very  desirous  of  seeing  Raeburn's  pictures,  I  bravely 
knocked  at  his  door,  armed  with  a  shilling  for  his 
servant."  Presently  Raeburn  comes  and  talks  to 
the  modest  and  half-frightened  aspirant,  and  with 
genial  tact  draws  from  him  the  confession  that  he 
desires  to  copy  some  of  the  great   painter's   works. 

After  considering  a 
little,  Raeburn  gener- 
ously has  a  small  room 
prepared  where  the 
student  is  allowed  to 
copy  any  of  the  por- 
traits that  he  chooses. 
Robertson  then  tells  us 
that  "the  first  picture 
that  I  copied  was  an  old 
gentleman,  a  half  length, 
of  Mr.  John  Tait,  advo- 
cate, with  a  blazing  warm 
sky  on  one  side,  close  to 
the  head,  which  I  thought 
injured  the  effect.  I  never 
dreamt  there  was  any 
harm  in  altering  it  and 
lowering  the  tone.  Rae- 
burn stared  at  my  copy 
and  frowned,  then  at  me 
and  smiled,  saying, '  I  see 
you  have  improved  upon 
my  composition.'  'Yes, 
I  think  it  is  an  improve- 
ment ;  don't  you  think  it 


is  ?  '  He  then  laughed  heartily  at  my  simplicity  and 
asked  me  to  dine  with  his  family  next  day  at  his 
picturesque  and  delightful  villa  at  Stockbridge,  but  he 
never  forgot  the  joke  of  my  altering  his  composition. 
Some  years  after  I  saw  the  picture  again  and  found 
that  he  had  adopted  my  alteration.  This  enabled 
me  to  turn  the  joke  against  him,  but  he  said  he  'did 
so  merely  to  oblige  me.'"  This  letter  is,  as  Robertson 
himself  declared,  a  far  better  pen-portrait  of  Raeburn 
than  any  that  exist  on  canvas,  and  incidentally  it  is 
an  excellent  impressionistic  sketch  of  the  lesser  genius, 
his  pupil.  But  what  is  of  immediate  interest  to  us  is 
the  discovery  of  this  first  miniature  copy  by  Andrew 
Robertson  of  the  portrait  of  John  Tait,  advoi  ate. 

This  portrait,  as  it 
now  exists,  contains  two 
figures,  John  Tait,  Esq., 
of  Harvieston,  and  his 
grandson  of  the  same 
name.  The  figure  of  the 
child  was  inserted  into 
the  picture  by  Sir  Henry 
Raeburn  after  the  grand- 
father's  death.  The 
copy  which  Robertson 
made  was  painted  in  the 
year  1793,  three  years 
before  the  grandson  was 
born.  These  facts  ex- 
plain any  differences 
that  exist  between  the 
two  pictures,  but  the 
nl  replica  "in 
little  "  ot  the  advocate's 
portrait  shows  con- 
clusively the  source  of 
Robertson's  style,  and 
provi  how  faithful  he  re- 
mained to  his  first  admir- 
al ii  m  1  t  the  Scotsman's 


The    Connoisseur 


RT    (SIGNED) 


genius.  This  miniature  has  tin-  additional  interest 
of  an  inscription  on  the  back,  in  Robertson's  hand- 
writing —  "  John   Tait, 

after    Rael  ■  I 

i    London."      It 
was  in  the  posse 
a   lady  in   Sussex,   who 

■  loi    ii 
with   other   miniatures 

id  not  to 

I 
ol     \1  i 

-  ish  this 

I  loll. 

R 
-   w    Plimer,    is 

i    '  | 

vhich  little 


EDWARD 

tiie  Royal  Academy  during  this  time,  and  the  only 
evidence  forthcoming  of  his  whereabouts  is  chronicled 
in  a  1  etter  from  his 
wife's  sister,  in  which 
she  speaks  of  him  as 
working  in  the  West  of 
England.  The  original 
of  the  portrait  was  born 
at  Twyford  House,  near 
Winchester,  i  n  M  a  y  , 
1S0S,  and  at  the  time 
the  portrait  was  painted 
he  was  about  six  years 
old.  He  was  the  son 
of  C.eorge  W.  Ricketts, 
Receiver- General  of 
i  1  [ants.,  whose 

ivife,  I.aetitia.  was 
i  and  co-heir  of 
Car  e  w  M  ild  may,  of 
Shawford  1  louse,  Hants. 
Edward  Ricketts  re- 
i  i  i\  ;<1  an  appointment 
in  the    1  reasurj    <  »ffii  e, 

Lord    I  ;\   r] '. 

.it    lover 

and   collector  ol   pic 

.-  >k  ,.    The 

-  harm  o!  i  olour  of  the 
original  miniature  is  a 
little  unusual  ;  the 
background  ii  ■ 


Some  Recently  Discovered  Miniatim 


PORTRAIT    OF    A    LADY  BY    J.    SMART 

neutral  tint,  the  tunic  is  a  nut  brown,  and  the  mantle 
a  dark  green  :  this,  with  the  fair  hair  and  fresh  com- 
plexion, forms  a  very  pleasing  harmony. 

We  now  come  to  two  notable  examples  by  Cosway 
and  Engleheart  respectively,  both  of  which  are 
extremely  characteristic  ;  the  one  a  delicate,  free  and 
graceful,  tinted  drawing,  and  the  other  a  fine,  distin- 
guished portrait  of  a  gentleman.  They  have  rei  i  ntlj 
come  into  the  possession  of  Mrs.  F.  Maltby  Bland. 
If  my  deductions  are  correct,  which  I  believe  they 
are,  these  two  portraits  represent  Col.  Elliott  and 
Mrs.  Elliott,  his  wife. 

The  drawing,  at  any  rate,  is  known  to  be  a  portrait 
of  Mrs.  Elliott,  nee  Miss  Maltby,  sister  to  Dr.  Maltby, 
Bishop  of  Durham.  This  lady  seems  to  have  been 
painted  several  times  by  Cosway,  and  other  members 
of  her  family  were  also  painted  in  miniature  by  the 
French  painters,  Troiveaux  and  Mansion.  There 
was  exhibited  at  the  Burlington  Fine  Arts  Club,  in 
1889,  a  miniature  ol  Miss  Maltby  by  Richard  Cosway, 
belonging  to  Mr.  feffery  Whitehead.     Appended  to  it 


PORTRAIT  OF  A  ..ENTLEMAN  BY  G.  ENGLEHEART  (SIGNED) 

was  the  following  note:  "  Miss  Maltby  calling  one  day 
at  a  friend's  house,  where  Cosway  was  visiting,  he  pro- 
posed taking  her  likeness  just  as  she  was  then  attired  ; 
( 'oswav  called  this  lady  one  of  the  three  Craces." 

The  portrait  of  a  gentleman,  by  Engleheart,  has 
always  belonged  to  the  same  collection  as  the  drawing 
of  Mrs.  Elliott,  and  is  signed  "E"  and  dated  1S01. 
On  reference  to  the  list  of  miniatures  painted  by 
G.  Engleheart  in  that  year,  there  is  found  to  be  one 
of  Lieutenant-Colonel  Elliott,  and  as  this  is  the  only 
member  or  connection  of  the  family  that  he  painted 
in  1S01,  it  is  fairly  safe  to  assume  that  it  is  a  portrait 
of  the  husband  of  Mrs.  Elliott.  The  other  little 
miniature  of  an  unknown  gentleman  is  also  signed, 
but  not  being  dated  and  having  passed  through  many 
hands  it  is  impossible  to  identify  it.  It  now  belongs 
to  the  owner  of  the  Robertson  miniature.  The 
small  portrait  ol  a  lady,  by  John  Smart,  is  similarly 
without  any  evidence  or  associations  which  can  help 
in  attaching  a  name  to  it,  though  it  is  undoubtedly  a 
work  of  that  painstaking  painter. 


^<£% 


The   Armourers   of    Italy 


Part    I. 


By    Charles   ffoulkes 


1\  a  former  article  in  this  magazine  a 
general  survey  of  the  armourers  of  Europe  was  given 
with  illustrations  of  their  trade-marks.  This  might 
have  been  sufficient  to  whet  the  appetite  of  those 
who  before  had  never  realised  what  a  high  position 
n  held  during  the  Middle  Ages  and 
Renaissance,  but  it  can  hardly  be  said  to  have  done 
justice  to  the  individuals  and  their  masterpieces. 
Withoul  unduh  exaggerating  the  importance  of  the 
•  I  the  armourer,  we  may  justly  consider  that, 
of  all  the  applied  arts,  this  alone,  in  its  finest 
p  i  od,  fulfilled 
all  thos 
essential    con 

(litmus  without 
which  ti" 
work  of  art  or 
nship 
can  exist.    The 

I  nstly, 
liould 
:;  in  the 
best     | 

for   which    it 

This   is  cxein- 

in  the  sto 

i  n  the 


weapon  will  slip  harmlessly.     The  second  condition 
is  that  the  work  should  be  convenient  for  use.     In 
the   best   period   of   armour,    roughly   speaking   from 
1400  to  1570,  this  convenience  is  admirably  studied 
in    the   easy    movements    of   knee   and    arm    pieces, 
and    in    the    laminated    plates     or     horizontal    strips 
which    compose    the    defences    for    the    upper    arm, 
hand,   and    feet.     To    any    one    who   has    made    the 
experiment  of  wearing  a  properly  constructed  suit  of 
armour   this  fact  will    be    plain  ;  for  the  weight  is  so 
evenly  distributed  over  the  body  and  limbs,  and  the 
articulations  of 
the  suit  follow 
the  anatomical 
construction  of 
the  wearer  so 
closely,    that, 
in   but  a  short 
time,  the  suit  of 
plate    becomes 
a  second   na- 
ture.       The 
third   of   our 
conditions  is 
that    the  work 
should   suggest 
the  material  of 
which     it     is 
made,  and  that 
only.      This 
rule  was  often 
broken    at   the 
beginning   of 
the  sixteenth 
century,  when 
11   1 1.  a  ame  t  h  e 
fashion  to  imi- 
tate in   metal 
the  puffed  and 
;toni      slashed  suits  of 


The   Armourers   of  Italy 


civilian  dress.  The  human  lace  was  also  represented 
on  helmets,  of  which  many  are  to  be  seen  both  in 
private  and  State  collections.  One  helmet  in  the 
Tower  has  steel  moustaches  fixed  to  the  lip,  and  the 
eyes  which  form  the  occularia  of  the  helmet  present 
a  very  grotesque  appearance.  The  fourth  condition, 
which  was  more  often  regarded  in  the  breach  than  in 
the  observance  during  the  late  sixteenth  century, 
insists  that  any  decoration  or  ornament  shall  be 
subservient  to  the  foregoing  three  conditions. 

When  we  remember  the  ceaseless  wars  of  the 
Italian  States  during  the  fifteenth  and  sixteenth  cen- 
turies, and  also  take  note  of  the  fact  that  the  safety  of 
the  leader  of  the  army  was  of  para- 
mount importance,  we  can  readily 
understand  the  importance  of  the 
armourer  and  of  his  craft.  The 
chief  centre  for  this  trade  was  Milan, 
and  it  may  be  of  some  interest 
to  note  that  our  word  "  milliner  " 
was  originally  the  "  Milaner  "  who, 
besides  supplying  armour,  was  a 
universal  provider  of  silks,  ribbons 
and  laces  for  feminine  wear. 

So  great  was  this  industry  even 
in  the  early  fifteenth  century  that 
we  find  this  town  supplying  ar- 
mour for  4,000  cavalry  and  2,000 
infantry  in  a  few  days  after  the 
battle  of  Maclodio,  which  was 
fought   in    1427. 

The   State   Archives   at    Milan  No.  II.— mar 

,  a  brigand: 

contain   many    references  to   the 

armourers   of   the   town,   of  which    it   will   suffice   to 

take  those  which  concern  the  principal  artists  whose 

work  remains  to  us  in  the  national  museums  of  Spain, 

Vienna,  Paris,  Turin,  and  London. 

The  name  of  Ferrante  Bellino,  however,  should  be 
noticed,  for  he  is  accredited  with  an  invention  for 
polishing  steel  about  the  year  1570.  It  is  needless  to 
point  out  that  this  had  been  done  long  before  this 
date,  but  the  fact  that  it  is  mentioned  in  Morigia's 
Historia  dell'  antichita  di  Milano  (1592)  shows  that 
it  must  have  been  a  new  and  remarkable  improvement 
on  the  old  methods. 

Armourers  were  sent  over  with  armour  made  for 
the  Karl  of  Derby  in  Milan,  when  the  Earl-Marshal 
proposed  a  duel  against  him  in  1398,  but  Froissarl 
simply  states  the  fact  without  entering  into  details. 
Statues,  monuments,  and  medals  are  excellen 
for  dating  a  fashion  in  costume,  for  they  prove 
that  at  any  rate  it  was  worn  before  the  date  of 
their  execution.  A  reference  to  the  statues  of  C.atte- 
malata  by  Verrochio,  Coleoni  by  Donatello,  and  the 


11  :dals  of  Pisanello,  if  examined  side  by  side  with 
the  armour  shown  on  contemporary  German  monu- 
ments, show  that  the  armourers  of  Italy  at  the 
middle  of  the  fifteenth  century  were  in  advance  of 
ih'  11  German  rivals,  especially  as  regards  the  decora- 
tion nf  armour,  which  was  rarely  attempted  in  Germany 
at  this  period. 

lew  records  exist  of  the  Cantoni  family,  who 
flourished  in  the  middle  of  the  fifteenth  century. 
Jaccopo  is  mentioned  as  "  Magister  Armorum  "  in  a 
document  dated  1492,  and  again  we  find  mention 
of  tlie  fact  that  he  was  dispatched  by  Galea/,  Maria 
Sforza  in  147S-S0  with  two  cases  of  arms  of  all  kinds 
and  sixty  cuirasses.  A  brigandine 
in  the  Armeria  Reale  at  Madrid 
bears  the  signature  of  Bernadino, 
his  son,  on  one  of  the  plates,  and 
two  suits  in  the  Vienna  Armoury 
are  attributed  to  him  by  Sig.  Gelli 
and   Moretti. 

The  Merate  brothers,  Francesco 
and  Gabriello,  flourished  at  the 
beginning  of  the  sixteenth  century. 
Examples  of  their  work  and  trade- 
marks are  not  definitely  known; 
but  in  a  note  on  No.  A.  3  in  the 
Catalogue  of  the  Madrid  Arm- 
oury, Count  Valencia  suggests  that 
the  signature  M  stamped  on  this 
suit  may  possibly  be  ascribed  to 
them.  The  magnificent  bard  or 
cantoni  on  ilorse  armour  in  the  Tower,  known 

Vr     MADRID  ,  ..   ~  ..  it,,! 

as  the  Burgundian  bard,  bears 
the  same  mark.  This  armour  is  embossed  with  the 
Burgundian  badges,  the  cross  ragule,  and  the  flint 
and  steel.  It  was  sent  as  a  present  to  Henry  VIII. 
by  the  Emperor  Maximilian.  The  embossing  of 
the  bard  in  no  way  offends  any  of  the  con- 
structional laws.  The  designs  are  not  raised  with 
a  sharp  undercut  outline,  but  swell  gradually  from 
the  flat  planes,  preserving  thus  the  smooth  glanc- 
ing surface,  and  by  the  boldness  of  their  treatment 
increase  the  strength  and  resisting  qualities  of  the 
armour. 

The  Merates  were  employed  by  Maximilian,  the 
husband  of  Mary  of  Burgundy,  and  worked  both 
at  Arbois  in  Burgundy  and  in  Milan.  The  Emperoi 
mentions  Francesco  and  his  brothei  .is  good  armourers 
in  a  letter  sent  to  Ludovico  il  Mom  dated  Worms, 
25  April,  1495.  In  the  list  of  taxpayers  in  the 
parish  of  S.  Maria,  lieltrade,  the  church  ol  '.he 
Swordsmiths'  Gild  in  Milan,  Gabrielo  da  Merate  is 
mentioned  under  the  dates  1524-0  as  being  liable 
for    200   ducats   as    an    annual    tax.      The    village    ol 


*®%Z9l 


The    Connoisseur 


\I  .rate,   from 
w  h  i  c  h  t  h  e  y 
took    their 
name,lii 
ten  mile 
Missalia,  which 
name 
to    a  n  o t  h  e  r 
famous    family 
•  •  irers. 
This  i. mnl'. 
ol   Missaglia, 
\  igroni,  al- 
though   taking 
thei  r   n  .1  m 
from  the  village 
oi    M  issal ia, 
seem  to  have 
made   their 
a   first 
in  I  Ho,  01  Ella, 
near  the  hike  ol  Como.       They   migrated   to   Milan 
as  their   business    1  xtended,    ami    soon   collected   3 

ientel    ol    Italian    ami    foreign    prii 
anxious  to  employ  these   master-craftsmen. 

The   interesting  details   concerning   the    Missaglia 
:n   til-    Via  degli   Spadari,   Milan,   have  been 


111 


fully  treated  in 
Cielli  and  Mor- 
etti's  mono- 
graph on  this 
family.  The 
house  was 
pulled  down  in 
1 90 1  to  make 
room  for  street 
improvements. 
( )n  September 
15th  o f  that 
year  a  farewell 
festival  was 
held  in  honour 
of  the  statue 
of  the  Virgin, 
which  stood  at 
one  corner  of 
the  building — 
an  object  of 
great  veneration  to  the  artisan  population  of  this 
quarter  of  the  city.  To  give  credit  where  it  is  clue, 
we  should  mention  that  it  was  the  late  Herr  Wendelin 
Boeheim  who  first  made  use  of  the  material  con- 
nected with  this  house  and  its  occupants  in  the  Vienna 
Tahrbuch  des  Kunthistorischen  Samlungen,  1 889,  and 


>'  >R  I  II 


' 


■  ■"...   .  >t 


■  II   AN 


IAGLIA     M  ' 


The   Armourers   of  Italy 


an  interesting  note 
on  Boeheim's  dis- 
covery of  the  house 
is  given  in  Baron  de 
Cosson's  Arsenals 
and  A  rmourers  of 
Southern  German  r 
(  Arch.  Journ.  xlviii  ). 
The  decorations  on 
the  house  have  been 
restored  in  the  ac- 
companying  sketch 
from  the  fragments 
which  were  discover- 
ed previous  to  its 
demolition.  The 
monograms  of  the 
family,  and  also  of 
Antonio,    one   of   its 


NO.    VI.    -ARMOUR    OF    ROBERTO 
SANSEVERINO,    VIENNA  BY 

a.ntonio  missaglia,  circa  1480 

appear   at  the    top;    below   these    are 

painted  the  "  Iride  "  or  rainbow  badge 

of  Galeazzo   Sforza  and  the   Cardinal 

Ascanio,  the  broom  used  as  a  device        No.  VII.— ma 

by  Ludovico  il  Moro,  the  dove  of  Bona       AND  °THER  " 

'  .  MISSAGl 

di  Savoia,  and  several  astrological  and 
astronomical  designs.  This  house  was  used  as  the 
residence  of  the  family,  and  only  the  finishing  work 
was  done  here.  The  heavy  work  was  carried  out  at  a 
".molino,"  or  factory,  near  the  Porta  Romana,  for 
which  the  Missaglias  paid  a  quit-rent  of  one  salad,  or 
light  helmet,  every  year  to  the  Duke  of  Milan.  The 
unfinished  armour  was  brought  into  the  house  in 
the  Via  degli  Spadari  by  the  "  Porta  d'Inferno."  a 
name  which  survived  till  the  demolition  ol  the  house  ; 
and,  when  we  picture  to  ourselves  the  gloom  of  the 
typical  Italian  workshop,  the  ruddy  fires,  and  the  >  lang 
of  hammer  on  anvil,  we  realise  the  suitability  of  the 
name.  Few  complete  suits  signed  by  the  M 
family  exist.  There  are  two  in  the  Imperial  Museum 
at  Vienna  bearing  the  marks  of  Antonio  and  Tomaso, 
and  one  of  later  date  by  a  member  of  the  Missaglia 
family  in  the  Musee  d  Artillerie  in  Paris.  This  suit 
(catalogued  ('..  7)  is  finely  engraved  and  gilded  in 
parts.  It  bears  the  image  of  the  Virgin  with  the 
motto  "O  Mater  Dei  memento  mori."  The  decora- 
tion in  no  way  impairs  the  utility  of  the  armour, 
I  nit   simply   enriches   the  surface   without   interfering 


with  the  polished  surface.  The  gorget,  according  to 
the  catalogue  of  1890,  does  not  belong  to  the  suit. 
A  suit  in  the  Royal  Armour)  at  Turin  (B.  2)  is 
ascribed  to  Antonio  Missaglia,  but  bears  no  mark. 
The  fan-shaped  plates  at  the  knee  bear  some  re- 
semblance to  those  shown  on  the  statue  of  Gattemalata 
by  1  >onatello. 

Several  salads  in  the  museums  and  armouries  of 
Europe  and  England  bear  the  family  stamp,  one  is 
preserved  in  the  case  near  the  entrance  to  the  Council 
Chamber  of  the  Tower,  and  near  to  this  is  a  "  1  lose 
helmet,"  bearing  the  mark  of  the  same  family,  which 
forms  part  of  the  "  Tonlet "  suit  of  Henry  Mil. 
There  is  also  a  salad  with  a  similar  mark  in  the 
Wallace   collection. 

In  1466  we  find  mention  of  the  balance  of  an 
account  being  paid  to  Antonio  Missaglia  of  the  sum 
of  30,568  lire  2  soldi  1 1  denarii,  for  armour  furnished 
by  his  family  to  the  Duke  of  Milan;  and  in  the  year 
1465  the  sum  of  22,400  lire  for  arms,  supplied  to 
the  "  famigli,  camereri  galuppi,  ragazzi 
ducali,"  for  the  ceremony  of  the  marri- 
age ol  Madona  Ippolita  with  Alfonso 
of  Calabria,  and  again  for  3,200  lire 
for  arms  furnished  to  Galeazzo  Sforza, 
1  Hike  of  Milan,  for  his  journey  to 
Prance.  That  this  family  did  not  con- 
line  their  trade  to  Italy  alone  is  proved 


1BERS    OF    THE 


by  the  entry  of  8,800  lire 
for  arms  promised  to  the 
King  of  Prance  (Louis 
XL),  and  to  certain  of 
his  knights  and  ambas- 
sadors. 

The  total  of  this  por- 
tion of  the  accounts  of 
the  Missaglia  fa 
comes  to  nearly  a  hun 
tired  thousand  fra 
only  represents  a  small 
portion  of  their  business. 

Baron  de  Cosson,  in 
the  number  of  lh'  / 
logical  Tournal 
above  referred 
to,  suggests  that 
the  magnifi- 
cent monument 
of  Richard  Bi  au- 
champ,   P. ail  ol 


NO.  VIII.        m:  Mi  11    R    01     11 
IRICHEN,    VIENNA 
fOMA    0    M 


The   Connoisseur 


Warwick,  was  modelled 
from  a  suit  made  by 
one  of  the  Missaglias. 
He  points  out  that  the 
Earl  is  known  to  havi 
been  in  Italy  and  to 
have  taken  part  in  a 
tournament  at  Verona 
in  1408  when  Petraiolo 
Missaglia  was  courl 
armourer  to  the  l»uke  of 
Milan.  A  comparison 
of  the  VVarwii  k 
with  the  two  drawings  o! 
the  suits  at  Vienna  will 
show  that  Tin-  tl 
not  put  forward  with- 
out     1  grounds.     In 

addition    to    this,   the 

fact    of    the    strong 

.i,  1     between 

the    armour    shown    on 

the    effigy    and    on    the 

■  oi   Mantegna 

makes   it    practically 

certain   that  al    ai 

it  was  of   North    Italian 

make.       Mantegna   was 

born  in  143  1,  the  Earl  of 

Warwick  died  in   i439> 

and  his    effigy    was   put 

up  in    1454.   so    that    it 

seems    clear    that    the 

must  have  been 

painted    from    a    suit 

which  was    mad 

the    last    years    ol     thi 

.1  k's  life 

and  kept   possib 

0   '•  property"  by 

:  as  an  example 

•  craftsmanship. 

Atany  rate,  the  similarity 

nking   as    to  be 

worthy  of  notice. 

!  i     made    by 

i  No.  vi.)  bears 


No.  IX.  to    :    as    ONi  • 

needed 


{Brit.  Mus.,   Cot.  MS., 
Julius  E.  IV.,fol.  212b). 
In  the  year  1565  the 
Missaglia  family   peti- 
tioned   that    the  con- 
demnation of  Gio  Anto- 
nio, one  of  their  number, 
for  homicide,  should  be 
rescinded.     Anne  of  50 
scudi,  or  three  strokes  of 
the  whip  before  the  in- 
quisitor,   was   the   sen- 
tence   passed    on    him, 
and  the  family    offered 
12  scudi  or  one  stroke 
of  the  whip.     This  miti- 
gation of  the  punishment 
was   refused,    and    they 
were  forced  to  pay  the 
whole   sum.       In    1573 
the    State    Archives    of 
Milan   record  the  name 
of  Count  Antonio    Mis- 
saglia.     Whether   the 
homicide  and  the  Count 
are    the    same    as    the 
famous    armourer   we 
have  no  definite  know- 
ledge,   but    the  various 
records  quoted,  when 
compared  with  those  of 
that    lawless    master- 
craftsman,   Benvenuto 
Cellini,  suggest  that  not 
only  honour  but  also  in- 
dulgence   were   granted 
to    men   whose   services 
were  of  so  much  use  to 
the  State. 

The  Negrolis  were  an 
offshoot  of  the  Missa- 
glias, and  seem  to  have 
altered  the  original 
spelling  of  the  family 
name  of  Negroni,  for 
we  find  them  recorded 
under  both  spellings. 
Vassari  writes  of  Philip 
Negroli  that  his  work, 
especially  in  respect  ol 
ili      family,  decorating   armour,   was 

'-    PARIS  0    «    .1     Known    that     it 

no  detailed  description.        [To  be 


^ 


1  «? 


i 


, 


LOUISE  MARIE  ADELAIDE 
BY    MADAME    VIGEE    LE    BRUN 

.1/   Versailles 


H  UIKIN.    IH  C  1 1 ! ;  S  S I .    IMiK'l.i:  \\s 


Pottery  and 

Porcelai 


Pratt    Ware 


By    G.  Woolliscroft    Rhead 


Certain  jugs  of  slightly  cream-tinted  earthen- 
wai  .  glazed  with  a  bluish  glaze,  bearing  modelled 
ornamentation  of  subjects  connected  with  the  sea.  and 
coloured  under-glaze,  have  fur  some  time  past  been 
known  to  collectors  under  the  more  or  less  vague  term 
of  "  Pratt  "  jugs.  The  examples  are  almost  invariably 
unmarked  :  and  up  to  the  present  no  sufficiently 
definite  information  as  to  their  authorship  has  been 
forthcoming.  As  a  consequence,  pieces  appearing  al 
intervals  in  the  different  sale  rooms  command  com- 
paratively low  prices.  As  a  matter  of  fact,  this  potter 
is  not  nearly  appreciated  as  much  as  he  deservi  -  to 
lie,  inasmuch  as  he  may  be  said  to  be  the  one 
Staffordshire  potter  whose  work  bears  any  affinity 
to  that  of  the  great  Italian  Maiolicists,  in  so  far  that 
the  modelling  is  vigorous  and  full  of  character,  and 
the  colour  palette  the  same  restricted  one  of  the 
Italians,  viz.,  a  cobalt  blue,  a  green  of  fine  quality, 
a   rich   orange,  and   brown. 

It  must  here  be  remarked  that  these  pieces  suffer  in 
reproduction  by  photography:  the  work,  although 
based  upon  form  and  relief,  is  conceived  from  the 
colour  standpoint,  the  colouring,  therefore,  in  transla- 
tion, often  appears  ruder  and  coarser  than  it  really  is 
upon  the  ware, 
the  colour  value 
being    nei  i    5- 

saril y  lost  or 

somewhat    dis- 
torted. 

A  rare  marked 
example  in  the 
possession  of 
M  i  .  A  .  E  . 
Clarke,  of  Wis- 
bech (  I  I  on i 
whose     col- 

i     on    all    the  sailor  and  sweetheart   ji 


accompanying  illustrations  are  taken,  with  the  excep- 
tion of  the  ornamented  teapoy  ami  the  examples  from 
South  Kensington),  is  impressed  upon  the  bottom 
with  the  word  "  PRATT  "  in  capitals.  It  enables  us 
to  identify  with  tolerable  certainty  the  various  classes 
of  this  interesting  ware,  which  may  be  placed  under 
live  different  heads,  viz.  :  (  i  )  Subjects  connected  with 
the  sea,  of  which  a  typical  example  is  the  marked  one- 
above  referred  to,  the  subject  being  The  Farewell  and 
The  Return.  On  the  one  side  is  a  sailor  bidding 
adieu  to  his  sweetheart  in  a  field  ;  his  ship  in  the 
distance;  and  on  the  other  he  is  coming  ashore  and 
hastening  to  meet  her.  This  same  subject  appears 
also  on  other  jugs  in  various  collections  (unmarked), 
with  varying  borders  and  accessories.  Other  pi  i 
this  class  are  the  "Nelson  and  Berry"  jug,  with  busts 
of  the  two  naval  heroes,  their  ships  between.  This 
and  other  pieces  have  been  imitated  by  less  important 
potters,  the  modelling  coarser,  and  the  colouring  ruder 
than  the  originals, — an  example  is  extant  with  Captain 
Hardy  substituted  for  Captain  Kerry;  the  Duncan 
jug,  with  portrait  of  Admiral  Duncan,  who  defeated 
the  Dutch  Admiral  De  Winter  off  Camperdown  in 
1707  ;  the  Jervis  jug,  with  bust  of  a  naval  officer,  in- 
scribed "  Lord 
J  a  r vis  "  ;  the 
U  ellingtonand 
1 1  ill  jug  :  and 
the  Duke  Of 
York  jug,  with 
group  on  re- 
verse sid  ol 
"Hercules 
slaying     the 

M 

(2)    Pastoral 

Subjl  els,   as  the 
line    Unit    dish 


77/ e    Connoisseur 


in  the  South  l.   n  in  ;  on  coll  i  tion,  which  is  alto 
one  of  the  most  i  h  irming  i  samples  of  the  art  of  this 
ing  p  iti  i.     On  eithei    side  ol  a  growing  vine 
appear  a  shepherd  with  <  rook  and  spotted  dog,  and  a 
girl   gathering   fruit,   the    sentimental    interest    being 
nparted  bj  a  winged  figure  of  Cupid  in  a  neighbour- 
ing tree,  accompanied   by  a   dove.     The  subject  is 
i  ,,n  thi    opposite  side  with,  on  the  one  side 
i         moon,  with   seven   stars, 
01  ■•  field  "  of  thi    piei      b  ing  occupied  by 
i  epand  lambs,  and  shepherds'  crooks.     The  handles 
are  formed  of  a  vine  branch  throwing  off  leaves  and 
fruit.      'I  he  pi  :ce  is   Orcadian  in  its  naive  simplicity  : 
coloui     i  mployed  are  the  four  colours  character- 
istic ol  Pratt's  work.     Another  example  of  ties  class 


is  the  characteristic  little  jug  in  the  Bethnal  Green 
Museum,  on  the  one  side  of  which  is  a  farmer  pursuing 
a  fox  running  away  with  a  goose,  and  on  the  reverse 
the  farmer's  wife  is  letting  loose  the  dogs. 

(3)  Caricatures  of  the  extravagant  head  dresses  of 
the  period  of  1775  and  later.  These  usually  appear 
on  small  flasks,  teapoys,  etc.,  and  are  also  in  relief 
1  oloured.     The  two  teapoys  illustrated  are  examples. 

(4)  Purely  ornamental  pieces,  painted  on  the  flat 
surface  of  the  ware,  as  the  little  teapoy  and  flower 
holder  illustrated,  the  character  of  the  ornament 
somewhat  resembling  Rouen  ware.  It  will  be  noticed 
that  precisely  similar  sprig  ornamentation  appears  on 
the  side  of  the  teapoy  with   the   two  grotesque  figures. 

his  also  occurs  on  teapots  bearing  subjects  in  relief. 


Pratt    Ware 


.'ER    HOLDER     WITH     PAINTED    ORNAMENT 


--RUIT    DISH  VICTORIA    AND    ALBERT    MUSEUM 


(5)  Figures,  of  which  Pratt  made  a  number,  and 
which,  although  unmarked,  may  be  readily  identified 
from  the  similarity  in  the  character  of  the  modelling 
to  well-authenticated  examples,  and  from  the  peculiar 
quality  of  their  colouring,  as  Pratt  may  be  said  to 
be  the  only  potter  of  that  period  who  remained 
uninfluenced  by  Wedgwood's  methods,  and  adhered 
consistently  to  the  under-glaze  method  of  colouring. 
Examples  of  these  are — the  group  of  "umbrella 
courtship"  (No.  1643  in  the  Willett  collection  at 
Brighton),  in  which  the  same  sprigged  ornament  is 
seen  on  the  dress  of  the  girl;  the  jug  in  form  of 
a  sailor  seated  on  a  chest.  No.  297  in  the  same 
collection. 

In  the  Mayer  Museum  at  Liverpool  is  a  teapot 
with  the  usual  raised  ornamentation,  and  with  panels 
of  painted  land-cape  executed  in  the  free  manner  of 


the  old  Delft.  Two  examples  are  given,  which, 
although  rude  in  execution,  possess  that  line  percep- 
tion of  style  characteristic  of  this  potter. 

Pratt  was  imitated  at  Herculaneum,  Newcastle  and 
Sunderland,  hence  the  mistake  collectors  have  made 
in  assigning  genuine  Pratt  specimens  to  these  plai  es  ; 
in  every  instance  these  imitations  were  poorer  in 
character.  Several  pieces  made  at  Herculaneum  occur 
in  the  Liverpool  Museum. 

Other  pieces  which  may  be  identified  with  this 
potter  are  the  "Wellington''  jug.  with  equestrian 
portrait  of  the  great  Duke,  and  a  military  trophy  on 
the  reverse  side  (collection  of  Mr.  Frank  Freeth) ; 
the  "Miser  and  Spendthrift"  jug.  the  spendthrift 
hugging  ,1  bottle,  and  the  miser  clutching  a  bag  of 
gold;  the  "Parson  and  Clerk"  jug,  the  parson 
standing  with  long  pipe   111   his  hand,  the  clerk  seated 


peacock      j re 


1  I.  I     MUSI  cm 


TEAPOT    WITH     FIGURE     KNEELING     AT    AN    URtN 


fEAPOT,     "LOVE    AND     LIVE     HUl'A'i 


rl-.M'Or     Willi     TAINT  II)    I.ANDSC 


/V<//7    //  'are 


[III    MEUU1.1HS    OF 


SPORTIVE    INNOCENCE    AND   MISCHIEVOUS  SPORT 


smoking,  on  the  reverse  side  a  drunken  peasant  at 
a  table  holding  a  mug  in  his  hand  ;  the  "Sportsman" 
jug,  with  figures  ol  three  sportsmen  with  guns,  dog, 
and  hare-,;  the  "Debtor  and  Creditor"  jug,  with 
medallions  of  debtor  on  the  one  side  and  creditor 
on  the  reverse.  A  leading  characteristic  of  these 
"Pratt"  jugs  is  the  zig-zag  or  pointed  borders  top 
and  bottom,  the  plain  zig-zags  being  often  alternated 
or  entirely  replaced  by  acanthus  leaf  decoration. 
This  occurs  in  its  various  forms  on  a  number  of 
specimens. 

To  the  Pratts  must  be  attributed  many  of  the 
mugs,  jugs,  etc.,  formed  of  the  heads  of  smiling 
satyrs  garlanded  with  the  vine,  as  also  some  "Toby" 
jugs  in  the  Willett  and  other  collections,  in  which 
the   colour  combination   and  quality  are   particularly 

These  potters  also  employed  transfer  printing.  In 
the  Victoria  and  Albert  Museum  is  a  pint  flask  with 
a  beautifully  modelled  figure  of  Nelson  in  relief, 
coloured,  on  an  ornamental  ground  of  blue  transfer, 
marked    1).  R.  at   the  bottom   in   blue  (illustrated). 

Of  the   history  and   personality  of  the   I'ratts  very 


little  is  known— scarcely  anything  can  be  gleaned 
from  the  pages  of  either  Shaw,  Jewitt,  or  Chaffers 
Felix  Pratt  married  one  of  the  three  daughters  Ol 
Thomas  Heath,  who  was  potting  at  Lane  1'elf  in 
ryro;  the  two  other  daughters  married  the  potters 
Palmer  and  Neale,  who  so  freely  pirated  Wedgwood': 
productions  in  the  latter  pan  ol  the  eighteenth  cen 
tury.  Pratt's  manufactory  was  built  on  the  site  ol 
'I  homas  Heath's  pottery  at  Lane  Hell  (now  Middle 
Fenton). 

In  an  interview  recently  accorded  to  the  writer  by 
the  present  representatives  of  the  Pratt  family  at 
Fenton,  the  following  information  was  forthcoming: — 
That  the  Pratt  family  have  no  records  of  their 
predecessors  beyond  the  grandfather  of  the  present 
Messrs.  Pratt,  born  17S0  and  died  iSdo,  conse- 
quently too  late  to  be  the  author  of  the  pieces 
under  consideration,  which,  roughly  speaking,  cover 
the  period  between  1775  and  1810  ;  and  that  he 
considered  himself  a  better  potter  than  was  Josiah 
Wedgwood.  That  there  have  been  six  generations 
of  Pratts  potters.  That  all  the  members  of  the 
Pratt    family    have-    been     excellent    colour    makers  , 


10    SPORTSMAN    jr 

39 


The    Cottnoisseur 


this,  doubtless,  accounting  for  the  fine  quality  of 
colour  we  find  on  Pratt  ware.  Further,  the  Messrs. 
Pratt  corroborated  the  information  given  above  with 
respect    to    Felix    Pratt    and    Thomas    Heath. 


The  factory  is  still  in  existence,  and  at  present  in  the 
occupation  of  the  Rubian  Art  Pottery  Co. 

The  successors  of  Felix   Pratt  have  continued  the 
production    of   pottery    to    the    present    day.      They 


n  ol  William  Pratt  appears  in  the  list 
given  b)  Chaffers  from  .1  map  in  the  Staffordshire 
Pottery  Directory,  Hanley,  [802,  as  potting  at  Lane 
Delf.     This,  however,  is  another  branch  of  the  family, 


ION    1'OKTRAIT 

initiated  amongst  other  things  a  system  of  transfer 
printing  in  several  colours  (under-glaze),  for  which 
they  were  awarded  a  medal  at  the  Exhibition  of  1S51, 
and  which  is  still  produced. 


PRATT 

DR 


tsc£U£P£ou$ 


Some  Knitting  Implements  of  Cumberland  and  Westmorland 
By  J.  C.  Varty=Smith 


To  those  living  in  the  Midlands  and  the 
South  of  England  the  subject  of  this  paper  will  no 
doubt  be  puzzling,  and  the  accompanying  illustrations 
may  at  a  first  glance  be  taken  for  instruments  of  war- 
fare used  by  some  savage  tribes.  They  are,  however, 
innocent  and  useful  instruments  of   industry,  which 


were  among  the  belongings  of  our  grandmothers  and 
their  fore-elders  of  the  eighteenth  century. 

The  u^e  of  knitting  sheaths  or  sticks,  once  very 
common  in  the  Holder  counties  of  England  and 
Scotland,  is  now  almost  a  thing  of  the  past. 

The    art    of    knitting    cannot    be    called    old    in 


.        .  .  . 

i 

is  one  of  .'■ 


,1 

■ 


V//C    Connoisseur 


comparison  with  other 
textile  industries.  No 
mention  is  made  oi  il  be 

h  century. 
An    -V  ■     <  il     Parliament 
(Hen     '.  1 1  .  i  : 
of   knitted   woollen   caps. 
And   again    in    another 

■  1  ■  I .  '  5  5  3  I. 
"knitte   peticotes,   knitte 

and  knitte  hose  "  are 
enumerated. 

These   artii  les    must 

j  luxuries. 

History    relates    how 

Mi        Mo   ta   lie,    Queen 

th's     silk    woman, 

II   i    Majesty 

with  a   pair  of  black   silk 

orth  she  never  wore  cloth  any  The  Scotch  claim  the  inv 

mon  .  some  authorities  to  Spain 

Stockings,    evidentl)     much    prized    articles,    are         Scotch  base  their  claim  on 
also   mentioned   as   forming   part   of   the   wardrobe   of  son  of  a  Scotch  king,  being 


oj 


„i,i  family  • 


lana 


Edward  IV.  Henry  VI 11. 
also  wore  Spanish  silk 
stockings  on  rare  occa- 
sions. On  the  authority 
of  Stow  we  find  that  the 
Earl  of  Pembroke  was  the 
first  nobleman  to  appear 
in  knitted  stockings. 

The  art  of  knitting  must 
have  been  becoming  more 
general  in  Shakespeare's 
time,  for  mention  is  made 
of  it  in  some  of  his  plays, 
and  as  if  it  were  no  rare 
accomplishment.  For 
instance,  in  the  "  Two 
Gentlemen  of  Verona," 
knitting  is  given  as  one  of 
the  qualifications  of  Silvia, 
the  beloved  of  Valentine, 
ention  of  knitting,  but  by 
is  the  honour  due.  The 
account  of  St.  Fiacre,  the 
chosen  the  patron  saint 


■  litalh  of  it 

,i,;i  l-y 


•si's  4     s'| 


F?1  ^1  ^; 


■■X- 


-^ 


8  ~  "  -  %.-  I  -S     ^?  ^  C 


The   Connoisseur 


■  ,  ; 


and  the  other    it 


lild  ol    French    tocking  ]  nitti  i  -  in   Paris  about 

i]   [527.     There  is  a  tradition  in  the  Shetland 

cuei  '       rom    the   Spanish 

aught  the  inhabitants  the  art. 

Whether  knitting  sheaths  and  sticks  were  used  by 

ry   early   workers    it    is   difficult   to   say.     The 

writer  has  been  unable  to  find  any  printed  n  ; 

of  their   use,  while    oral    traditions    date    them    uol 

■  eighl     nth  1    ntury. 

i  1    :     used   extensivi  ly    by    the    Scotch   and 

knitters,  and  that  many  specimens  are  to  be 

in    the    land-  !  \     tmorland  and 

ittle  surprise  when  the  almost 

ing  i  whii  li  were  knitted  for 

sale  in  those  parts  during  the  end  ol  the 

ition. 

immortalised  th     ■  11a  1    ol    L)i  nl 

Oi    : 
olson  and    Burn,  it   is  stati  1 

■ 
1  il    market    was    1.000   pai 

1    1 

1 


occurrence  during  the  winter  months  for  friends  in 
the  dales  to  meet  together  at  the  house  of  a  neighbour 
and  have  a  knitting  "go  forth,''  as  it  was  termed,  the 
workers  sitting  round  a  log  fire  knitting,  while 
someone   read  aloud   or  told  a  story. 

Henry  Brougham,  delivering  his  election  address 
in  Ravenstonedale  about  the  year  1S20,  prior  to  his 
elevation  to  the  position  of  Lord  Chancellor,  noticed 
that  nearly  all  the  women  and  young  girls  kept  busily 
plying  then  needles  while  listening  to  his  discourse. 
I  le  humorously  remarked  at  the  time  that  he  thought 
the  name  of  the  place  should  be  changed  to 
Knittingdale. 

Knitting  sheaths  and  sticks  have  a  hole  at  one  end 

in  which  to   place  one  o!    the  needles   when    knitting. 

ath  was  kepl   in  position  on  the  right  side-  oi 

the    user    by   being  slipped   mto    the    waistband,   01 

und    the   apron    string.      In   the   most 

■  .  ■          1  le  quill  or   metal 

d  between  pieces  of  cloth  or  flannel, 
and  tins  was  pinned  to  the  dress  in  the  same  position 
as  the  larger  sheaths. 

10  artii  le  lias  so  much  sentiment  attached 
to  ii  as  the  old-time  knitting  sticks  of  out  fore  elders. 
They   were   often   the   work    of  the    village   youths   as 


Some  Knitting  Implements  of  Cumber/and  and  Westmorland 


presents  to  their  sweethearts.  The  decoration  chiefly 
takes  the  form  of  chip-carving,  all  done  by  the  pocket- 
knife.  The  metal  sheaths  were  no  doubt  made  in 
the  evening  at  the  village  forge. 

Sheaths  usually  show  the  initials  of  both  giver  and 
receiver,  sometimes  accompanied  by  date,  1722  being 
the  earliest  known  to  the  writer.  Besides  being 
carved,  a  few  may  be  seen  inlaid  with  ivory,  metal, 
or  mother-of-pearl.  They  take  many  forms,  as  will 
be  seen  by  the  illustrations. 

The  ball  of  yarn  or  "  clue  "  was  in  some  instances 
placed  on  a  metal  hook  on  the  right  side  of  the 
knitter,  the  ball  being  re-airanged  on  the  holder  from 
time  to  time  as  the  wool  was  worked  off.  The  point 
of  the  hook  in  one  will  be  seen  to  be  bent  back,  in 
order  to  prevent  the  ball  from  coming  off  too  readily. 
'1  hese  "  clue  holders  "  were  made  in  various  shapes 
and  sizes  of  brass  and  iron  ;  they  are  now  scarce  and 
rarely  to  be  met  with. 

Another  old-time  device  was  a  wooden  pin  on 
which  the  yarn  was  wound,  called  a  "broach," 
pointed  at  one  end  and  broad  and  flat  at  the  other, 
which  was  inserted  inside  the  shoe  ol   the  knitter. 

In  Dong.,  Virgil  273,  iS,  we  have  the  term 
"  broach  "  used  :  "  Hir  womanly  handis  nowthir  rok 
of  tie  ne  spyndis  vsit  nor  brochis  of  Minerva  Ouhilk 
in  the.  craft  of  claith  making  dois  serve." 

As  a  foundation  fur  the  ball  of  yarn  another  idea 


was  followed.  The  windpipe  of  a  goose  was  taken 
and  made  into  the  form  of  a  ring,  the  hollow  ends 
slipped  into  one  another,  but  before  doing  so  a  few 
dry  peas  were  inserted,  the  whole  when  chy  forming 
a  rattle  ;  on  this  the  yarn  was  wound.  If  the  ball 
was  lust,  its  whereabouts  was  then  made  known  by 
the  rattling  of  the  peas,  as  knitting  was  generally 
resorted  to  in  the  evening,  when  feeble  rushlights  and 
home-made  dip  candles  were  in  vogue. 

'I  he  scimitar-shaped  sheaths  were  without  doubt 
the  earliest  forms  used  ;  these  were  followed  by  the 
straight,  fancy  and  spindle  form,  concluding  with 
the  smaller  heart-shaped  varieties,  the  latter  being 
fastened  upon  cloth  with  edges  broad  enough  to  pin 
to  the  dress.  Metal  tubes  and  goose  quills  placed 
between  red  flannel  are  the  most  modern,  and  may 
sometimes  be  seen  in  use  at  the  present  time. 

These  North  Country  knitting  sheaths  may  be 
classed  with  the  carved  Welsh  "  love  spoons "  of 
the  eighteenth  and  early  nineteenth  century.  These 
spoons  have  broad,  elaborately  chip-carved  handles, 
ornamented  as  a  rule  with  hearts  and  similar  symbols. 
Sonic  of  the  more  prized  ones  have  double  bowls 
issuing  from  one  broad  handle,  no  doubt  typical  of 
unity  of  heart  between  the  giver  and  receiver,  and 
signifying  "we  two  are  one."  A  representative 
collection  of  these  spoons  may  be  seen  in  Caidiff 
Museum. 


New 

National 

Gallery 

Purchase 


The  trustees  ol  the  National  ( lallery  have  acquired 
from  M  i  Ernesl  Brown  &  Phillips  the  well-known 
painting  April  Love,  by  Arthur  1  [ughes. 
This  work  was  painted  in  1856,  and 
Hi.-  most  notable  examples  ol 
the  pre  Raphaelite  movement.  It  has 
in  the  possession 
ol  Mr.  II  Hi.  Boddington,  of  YVilmslow,  and  has 
recently  been  <>n  exhibition 
at  the  Leicester  Galleries, 
Square. 

.7  Love   Ruskin 

wrot       "  Exquisite  in  every 

way  ;  lovelj  in  colour ;  most 

subtle    in    the    quivering 

n    ol    the    li|is,  and 

I 

n    like  a   leaf  by 

1 

I  ure   will    shortly 

in    the    National 
Gallery  of  liriti-h  Art. 


: 


A  Charles  II. 

Lambeth 

Delft  Plate         ""< 

busl   ol 

I  .  by   Dwight,  at 
William  ,: 


■II      I'llll    1    ll'S 


is  a  comprehensive  one.  Not  the  least  interesting 
to  the  collector  is  the  series  of  Delft  plates  and 
dishes  made  at  Lambeth,  and  beating  the  effigies  of 
Charles  I.,  Charles  II.,  and  James  II.  upon  them. 
Although  portraits  of  Charles  I.  appear  in  this  series 
of  dishes  (usually  about  13  inches  in  diameter),  they 
are  nut  contemporary,  and  were  probably  not  made 
at  Lambeth  until  after  1670,  and  they  were  evidently 
made  in  pious  memory  of 
"  King  1  li.irles  the  Maim ." 
'These  and  the  crude 
"  blue  dash  "  chargers  or 
dishes  with  the  blue  dashes 
clumsily  applied  around  the 
edge,  and  sometimes,  be  it 
said,  in  brown  instead  of  blue, 
often  have  dates  and  initials. 
The  trees  and  foliage,  if  any, 
are  usually  done  with  a 
sponge  hastily  applied. 

The  dish  here  illustrated 
represents  Charles  II.  at  full 
length  in  his  regal  robes, 
wearing  .1  1  row  n.  antl carrying 
tin-  orb  and  sceptre.  The 
portraiture  is  of  the  .rudest, 
and  hardly  rises  above  the 
king     on    ,1    pack     of    cards. 

In   point  ui  evolution  these 

royal  portraits  sui  1  ei  7  d  the 

oi      loft     in    his 

dishes   ol    slip  ware.       But  to 

the  1  ollei  ioi  they  arc  of 
1.  as  they 
•  v  denned  pei  tod 
in  English  ea  rt  hen  wa  re. 
I  he}  follow  tin-  drug  pol 
and  the  dated  sack-bottle, 
although  Dellt  was  made 


Notes 


Napoleonic 
Snuff-Box 


in  England,  at  Bristol  and 
elsewhere,  [up.  to  the 
middle  of  the  reign  of 
George  III.,  these  dishes 
with  mval  portraits  lie 
between  1670  and  the 
opening  years  of  the  reign 
of  George  I.,  that  is  to 
saw  roughly,  a  little  over 
a  quarter  of  a  century. — 
A.  H. 

This   box,    set   with 
brilliants  and  a  portrait  of 

Napoleon, 

was    given 

b  y  t  h  e 
Emperor  Napoleon  of 
France    to    the    Hon. 

Anne  Seymour   I  lamer  as  charles   11. 

a   "souvenir" — the   word 

he  used  in  consequence  of  her  having  presented  him 
with  a  bust  of  Mr.  Fox  executed  in  marble  by  herself. 
The  bust  had  been  promised  at  the  "Peace  of 
Amiens,"  was  finished  1S12  and  sent  to  1'' ranee,  where 
it  remained,  but  was  not  presented  till  May  1st, 
1815,  when,  by  command  of  the  Emperor,  Anne 
Seymour  Darner  had  an  audience  for  that  purpose  at 
the  Palais   Elysce,  where  the   Emperor  then  resid 

It  was  bequeathed  to  the 
British  Museum  by  Mrs. 
Damer  in   1828. 

The  Holy  Family,  by  Van  J 

Dyck,  which  we  reproduce  as  MA 

our  frontispiece, 
Our  Plates       is  one  of  seven 

works  by  Ru- 
bens's  illustrious  pupil  in  the 
Rodolphe  Kami  Collection. 
As  regards  tonus  and  types,  it 
recalls  Rubens,  but  the  lu- 
minous tone  of  the  brilliant 
colour  is  derived  from  Titian, 
before  whose  works  the  young 
master's  art  istic  sense  had 
taken  on  still  greater  refine- 
ment. The  little  naked  figure 
of  the  Infant  Jesus  on  his 
mother's  lap,  his  fresh  and 
exuberant  life  restrained  fur  a 
moment  by  the  gentle  bunds 
ol  sleep,  is  a  delicious  creation.  SNUFF.BOX  PRESE 
The    Virgin,    in    a    dark    blue      by  the  emperor 


gown  and  cherrj  coloured 
mantle,  has  a  grace  ol 
expression  and  a  bi  autj 
of  movement  which  sug- 
gest Murillo,  under  whose 
name,  indeed,  the  picture 
was  for  some  time  known 
in  the  market.  The  St. 
roseph,  who  gazes  h  a\  n 
ward  with  di  ep  emotion, 
betrays  the  study  of 
Tintoretto  in  his  dis- 
ordered white  beard,  his 
brownish  carnations,  and 
his  brilliant  yellow  mantle. 
The  canvas  measures 
39  inches  by  36  inches. 
The  portrait  of  Louise 
Ma/ic  Adelaide  de  Bour- 
jeth   delft  plate  ion,   Duchesse  d'Orleans, 

which  we  reproduce  in 
colours,  ranks  high  amongst  the  many  fine  portraits 
executed  by  Madame  Vigee  Le  Brun,  the  intimate  friend 
of  Marie  Antoinette,  whom  she  painted  no  fewer  than 
twenty-five  times.  The  daughter  of  a  portrait  painter, 
Madame  Le  Brun  was  born  in  Paris  in  1755.  Quite 
early  in  life  she  displayed  evidence  of  artistic  talent,  and 
rei  eiving  lessons  from  Davesne  and  Briard,  her  reputa- 
tion was  establish-  d  before  she  had  reached  her  twenty- 
fifth  year.  Many  distinguished 
personages  were  subjects  for 
her  brush,  amongst  them  being 
members  of  the  French  Royal 
Family,  Madam--  de  Stael, 
Madame  Catalani,  La  Bruyere, 
and  Abb,-  Fleury. 

The  plate-  on  the  cover  of 
the  present  1111  nber  is  a  repro- 
duction of  Henry  Morland's 
well-known  work.  The  Laundry 
Maid,  in  the  National  Gallery. 
The  special  plate  ol  Mrs. 
Hoare  andChild,  by  Sir  Joshua 
Reynolds,  presented  loosewith 
this  number,  is  well  known  to 
all  visitors  to  the  Wallace  Col- 


in 1  766, 


r  Jos 
at  nit 


The   Connoisseur 


In  his  recent  addition  to  the  pewtei  collectors 
increasing  library  Mr.  Christopher  Markham  addresses 
himself  mainly  to  the  consideration  of 
:er  Marks  &f,  Min|rU,Mt  complex  subject  of 
Pewter  Marks,  and  while  covering 
much  ground  previously  traversed  by 
Mi.  Charles  Welch  in  his  History  of 
the  Pevterers'  Company  and  by  Mr. 
M  asse" 


and  Old 
Pewter  Ware 
By 

Christopher 
A.  Markham, 
F.S.A. 
(Reeves  and 
Turner, 
London   21s.) 


i" 


in  his 
Pewter 
Plate, 
its 


■ 


nformation  in 

md    moi  e    i  on 

form,   but,   as 

onsider- 

an  h,  provides 

M    r-lover    with 

fresh    and    interesting 

throwing    ad- 

i 

tain   points,   which 

■in.it  ely  must 

main  to  a  largi 

extent  obscure. 

The    small    number 
ol    dated    touches    n 
i 
any    yearly   dal 

to  that  on  silver,  and 

which  the  n  i  ording  i  >l 

must    alw.r 

diffii  nil    to    do    more 

date  Ol  the  majority  of 

o 
marks,    and    well  -  foum  ons    as    to    the 

hes    initials   only 
d    in    his 

i 
o 

brief     but 

i 

i    pair     and 

I 
and    Mr.    Markham 


Sl'OOS     KACt 


cleaning  ;  but  we  think  a  comparison  between  many 
well-tended  private  collections  and  the  uncleaned 
specimens  in  certain  museums  will  suggest  that  the 
discreet  cleaner  is  probably  wise  in  his  generation, 
and  incidentally  earning  the  gratitude  of  future 
ones. 

In  the  chapters  devoted  to  the  enumeration  of  the 
various  articles  for  domestic  and  ecclesiastical  use  pro- 
duced by  the  pewterer 
the  author  confines 
himself  within  narrow 
limits,  touching  briefly 
on  the  various  articles 
in   illustrated    notes. 

The  selection  of 
objects  requisitioned 
for  illustrating  this 
section  of  the  book 
has  not  invariably  been 
happy,  and  the  photo- 
graphs of  Britannia 
metal  College  "  Pots  " 
used  in  connection 
with  the  brief  notes  on 
tankards  might,  with 
advantage,  have  given 
place  to  others  of  such 
fine  representative 
pewter  tankards  as  are 
included  in  many  well- 
known  col  1  ect  i  ons, 
notably  in  one  famous 
series  in  Worcester- 
shire, to  which  the 
author  has  apparently 
had  access. 

Britannia  metal  is 
admittedly  akin  to  hard 
pewter,  but  the  excel- 
lent productions  of 
Dixon,  of  Sheffield. 
in  that  metal  are  not  regarded  seriously  by  seekers 
aftei    old   pewter. 

The    illustrations    from    photographs    and    drawings 

an      numerous,    and    often    interesting,    but    we    are 

1  to  think  the  appearance   of  the  book   would 

I  fullei  reliance  on  the  cam   ra. 

Apart     from     the    drawbacks     referred    to,     Mr. 

Markham   i     to  I igratulated   on   placing  at  the 

\  olume  winch  must  command 

the    attention    ol    those   interested   in    the    stud;     ol 

tainted  with  the  works  ol  such 

an  adm  on  kindred  subjects.-  -  W  \i  1 1  R 


.  1 1  117  F  N  I  1 1 


Notes 


The    English    edition   recently  issued  of    Mr.  Frank 

Weitenkampf's    How   to   Appreciate    Prints    makes    a 

welcome  addition  to  the  collector's 


How  to 


te  Prints 


bookshelf.       It    is   a   volun 


diich, 


Appreciate  j-nnis  wrjtten  wjth  a  singleness  of  purpose, 
By  Frank      ^  .g    wel,    ca]culated    to    serve    others 

_eI  „.  ,  ,  The  author  endeavours,  bv  enlisting 
(Grant  Richards,  . 

,.         .  the  reader  s  interest  in  and  sympathy 

7s.  6d.  net)  .  ,    ,    . 

with  various  artists    aims  and  their 

methods  of  work,  to  kindle  within  him  a  desire  to 
possess  the  fruits  of  their  labours.  But  in  so  doing 
he  contrives  to  impart  a  good  deal  of  technical  infor- 
mation which  many  who  pursue  this  fascinating  hobby 
have  not  acquired.  Practically  the  whole  range  of 
collecting  has  lately  been  traversed  by  popular  hand- 
books which  yield  the  amateur  collector  all  the  knowledge 
necessary,  next  to  practical  experience,  to  enable  him  to 
follow  one  or  other  of  the  branches  treated.  These 
manuals,  however,  admirable  as  they  are,  premise  a 
certain  knowledge  of  the  subject  on  the  put  of  those  to 
whom  they  appeal,  and  an  inborn  desire  to  make  that 
subject  their  own.  The  title  of  the  volume  under  review 
is  a  sufficient  indication  that  its  author  had  no  pre- 
conceived notion  of  this  kind,  but  that  he  appreciated 
the  intricacy  and  the  initial  difficulties  of  a  subject,  the 
name  of  which  often  suggests  to  the  lay  mind  a  mere 
mechanical  process  in  which  an  artist's  individuality  has 
no  place  whatever.  But  it  remains  a  work  which  every 
collector  should  find  helpful.  The  various  processes  of 
etching,  dry-point,  line  engraving,  mezzotint,  stipple, 
colour-printing  and  lithography,  are  all  explained  with 
graphic  completeness,  to  which  numerous  illustrations  in 
half-tone  of  typical  examples  lend  their  aid. 

Not  the  least  noteworthy  feature  of  the  book  is,  that 
it  does  not  attempt  to  regard  the  work  of  producing 
"  pictures  in  print  "  as  an  art  that  existed  only  in  the 
past,  but  instead,  it  contains  a  careful  survey  of  the 
whole  sphere  of  engraving,  displaying  the  same  sym- 
pathy with  the  workers  in  lithography  and  the  modern 
photo-rnechanical  process,  as  with  the  early  artists  in 
woodcut  and  etching.  It  is,  too,  of  great  practical 
advantage  to  the  student  that  each  chapter  deals  with 
one  subject  only,  and  is  quite  complete  in  itself,  so  that 
it  may  be  read,  if  desired,  independently  of  the  res:  of 
the  volume. 

Having  told  the  reader  everything  about  the  various 
methods  of  technique  necessary  to  secure  his  apprei  iatii  >n, 
Mr.  Weitenkampf  proceeds  to  give  some  useful  hints 
about  collecting,  hints  that  apply  more  particularly  to 
the  art-loving  amateur  who  is  desirous  of  building  up 
a  collection  from  an  artistic  standpoint,  rather  than  to 
one  whose  main  idea  is  to  secure  a  good  financial 
asset.  However,  as  he  states,  "  If  the  two  coincide,  all 
the  better.''  The  chapter  on  "The  Making  of  Prints" 
will  undoubtedly  be  found  most  useful  by  the  amateur, 
who  too  often  is  bewildered  in  the  matter  of  "States." 
The  information  given  here  should  make  it  comparatively 
easy  for  anyone  to  judge  a  print  intelligently.  Finally, 
the  book  has  a  well-tabulated  index  for  reference. 

E.  S.   S. 


WHEREVER   there   exists  an  understanding   and  a  love 
of  scientific  work,  of  the  throwing  in  of  hypothesis  an  ong 
accumulated   data-  and   the   resultant 
A  New  Light        vision    of  these   data   interpreted   and 
on  the  related,  intelligible  parts  of  the  develop- 

Renaissance  ;„<,  picture  of  life— Mr.  Bayley's  book- 

Displayed  in         m  Afedi&val  Paper  Marks  will   find 
Contemporary        we]conle. 

Emblems  Whilst  several   writer-  have  thrown 

By  Harold 
Bayley 
(London : 
J.  M.  Dent 


and    Co. 


2/6) 


passing  glances  at  the  available  facts, 
and  have  hinted  at  a  possible  harvest 
of  en 

this 


nent,  there  has  been,  until 


present    work,    no   book    on    the 


subiect  of  the  water-marks  in  paper 
excepting  Monsieur  Charles  Briquet's  monumental 
dictionary,  Les  Filigrancs,  appearing  in  Paris  two  years 
ago,  comprising  over  ten  thousand  facsimiles  sorted  and 
classified,  incidentally  accompanied  by  a  repudiation  of 
any  idea  of  coherence  in  these  signs. 

It  has  been  left  to  Mr.  Bayley  to  complete  the  process 
of  investigation,  to  look  at  this  mass  of  material  in  the 
light  of  a  suspicion,  to  use  his  scientific  imagination  upon 
it,  to  carry  back  the  abstracted  facts  to  their  setting,  to 
trace  their  origin,  patiently  to  study  the  milieu  of  their 
development,  and  to  see  them  at  last  n<>  longer  arbitrary 
and  meaningless,  but  real  and  living,  playing  then- 
coherent  part. 

And  in  this  pleasant,  leisurely  volume,  with  its  attendant 
troop  of  charming  illustrations,  he  takes  us  to  look  with 
him  at  the  setting  whence  these  signs  emerged— back  to 
the  heart  of  the  Middle  Ages,  on  joyous  errand  of  trial, 
whether  the  picture,  already  so  rich,  will  accept  his 
proffered  embellishment— back  to  medkeval  Provence 
standing  in  sharp  relief,  with  its  ominous  precocity, 
against  the  dark  background  of  the  rest  of  Europe,  a 
radiant  country,  home  of  troubadours,  of  lovers  of  art 
and  literature,  cherisher  of  legend  and  romance, and  salient 
bulwark  of  heresy,  attracting  the  persecuted  from  all 
quarters  to  bring  their  intelligence  and  industry  in  various 
enrichment  of  its  fair  burgeoning. 

Down  amidst  its  surging  life,  in  amorigst  the  craftsmen 
of  the  little  towns  and  villages,  our  guide  cries  a  halt  and 
bids  us  watch  the  lives  and  thoughts  of  the  strong  ones 
into  whose  hands  the  skilled  labour  of  Provence  fell  and 
flourished,  the  Albigensian  heretics  who  watched  over 
the  cradle  of  European  paper-making,  little  colonies  of 
craftsmen  living  round  their  mills  soberly  in  the  fear  of 
God,  perpetually  at  warfare  with  the  official  custodians  of 
Christianity.  It  is  largely  upon  the  opinions  and  the 
lues  of  these  men  and  their  relation  to  the  troubadours, 
the  Nonconformist  press  of  the  day  with  their  unorthodox 
Grail  legends,  their  mystic  romaunts  and  songs,  that  the 
evidence  for  Mr.  Bayley's  belief  in  the  deliberate  and 
ed  significance  of  paper-marks  rests— upon  that 
and  upon  the  internal  support  from  the  la<  t  of  the  gradual 
modification  and  embellishment  by  the  Albigensian 
,:.,:!  men   of   the   Grail   and    Romaunt   emblems   which 

|Ui  litis-  in  watei  marks,    modi! 
embellishments  not  merely  of  the  design,  but  of  the  idea, 
:  i  t,,  prove  thai  the  makers  wer< isi  ious  of  the 


The    Connoisseur 


underlying   symbolism   as   a   persistent   force   remaining 

unbroken,    moreover  growing   and   expanding   after  the 

descent  of  the  Papal   Crusade  on  the   Provencal  heretics 

in   1209,  when  the  whole  land  was  silenced  by  the  sword, 

and    the    scattered    Albigensian    refugees    spread    over 

like   a   leaven,  appearing    under   the   guise   of 

the   Brethren  of  the   Common   Life,   Hussites,  Lollards, 

Brethren    of  tin  Homines     Intelligence, 

Franciscans,   founded   by  the  e\-troubadour  St.  Francis 

1  riend    of  God,  and   Waldenses.     "So  honey- 

ts    our    author,   "was    Europe    by    these 

erel 

a    Walden 

ti  im  Antwerp  to  Rome 
could  sleep  every  night 
a:  iIm  house  of  a  fellow- 
believer." 

Through   cha] 

where    we    may 

watch  the  youth  ol  papei 

making   and    printing,    a 

bright  under-world  of  tin-, 

■  flit,   and    life, 

■  1  ret  tip' 

sturdy  warfare  for  the  dis- 

enthralment   ol    I 

Mr.  P.a\  ley  marshals  hi ^ 

.    anil    turns    to 

US    at    last,    his    p 

his   li[i-. 

ing   forward   to   1 

w  hen    these     things 

the    light 

mimon    -la  y  a  n  d 

naissan ce  had 


It    is   <  1m  actei  istii     "t 

behind    .1     ;poke  ;m  in 

and   almos 


Turning  the  tears  o 
Decking  the  earth 
The  sinking  storm- 


night  to  joyous  gems, 
ith  radiance,  'broidering 
louds  with  a  golden  hinge. 


scarcely    room    t"i 


bly,    tiir 


in  the  Eas 

[ 


Whether  or  no  we  agree  to  accept  all  Mr.  Bayley's 
deductions,  to  land  unconditionally  at  the  port  where  he 
would  finally  deposit  us  matters  but  little  to  the  enjoy- 
ment of  the  voyage.  We  may  agree  or  dispute  that 
"the  awakening  known  as  the  Renaissance  was  the  direct 
result  of  an  influence  deliberately  and  traditionally  exer- 
cised by  paper-makers,  printers,  cobblers,  and  other 
artisans,  and  that  the 
nursing  mother  of  the 
Renaissance,  and  conse- 
quently of  the  Reforma- 
tion, was  not,  as  hitherto 
assumed,  Italy,  but  the 
Provencal  district  of 
France,"  but  we  are 
bound  at  the  very  least 
to  concede  that  he  has 
done  valuable  and  inter- 
esting work  in  bringing  to 
light  fresh  documentary 
evidence  that  the  torch 
of  heresy  was  never 
quenched. 

To  those  to  whom  the 
co-existence  of  orthodoxy 
and  heresy,  the  outrunning 
of  the  form  by  the  idea, 
and  their  mutual  depend- 
ent e,  is  a  constant  con- 
cept, this  book  will  be  a 
rich  rekindling  —  undis- 
turbed by  the  fact  that 
the  author  does  not  take 
this  view  of  things,  but  is 
an  apologist  for  noncon- 
formity, confessing  him- 
self 51 1  by  his  vision  of  the 
medieval  conflict  as  a 
battle  between  white  and 
black  with  a  predetermined  end,  anil  by  his  necessarily 
bewilderment  over  the  fa.  1  that  the  official 
Church    hehl   her  own. 

["he  three  chapters  on  the  Invention  of  Printing,  Printers' 
tnd  the  ["ransference  of  Wood  Blocks,  are  per- 
hly  suggestive.     D.  M.  RICHARDSON. 


of  the  1 


WHEN    Rubens  wa 
i  Philip  II 
The   School 

of   Madrid 

By 

A.  de  Bcructc 

\    Horet 

(Duckworth 

7s.  6d.  net) 

be  painted  wit 


sent  by  the   1  )uke  of  Mantua  to 
he  1  "pied  many 
iasterpieces  in  that  King's  collec- 
tion.      The     Duke     wished     him     to     be 

worl     1        ian    I ters, 

inn    Rubens    svi ote  :    "  1    do    not    speak 

feeling,butona ml 

of  the   desire   of  Sr.    Iberti,  who  wishes 

that   in  a    moment    many  pictures   should 

lanish  painters.     1  will  follow 


Notes 


his  advice,  but  I  do  not  approve  it,  considering  the  short 

time    we    have    at    our    disposal,    and    the    incredible 

inadequacy  and   idleness  of  these  painters  and  of  their 

manner    (from    which    may  God  preserve  me   from  any 

resemblance  I)  so  absolutely  different  to  mine." 

Rubens  returned   to   Madrid   a  quarter  of  a   century 

later,  but  then  Velaz- 
quez was  in  his  pi  ime, 

and  the  foundation  had 

been  laid  for  what    is 

now   known  as  "  The 

School     of     Madrid." 

Before     the    days    of 

Velazquez    there    had 

been  many  painters  in 

Madrid,  but  they  were 

of     little    importance, 

and  lacked  the  link  of 

style  to  connect  them 

as      members     of      a 

School.    This  link  was 

supplied  by  the  power- 
ful  art   of  Velazquez, 

which   determined  for 

two     generations    the 

realistic     direction    of 

the     art    of     Madrid. 

Indeed,  the  School  of 

Madrid  is  mainly  com- 
posed  of    Velazquez's 

pupils,  and    followers, 

chief  of  whom  was  his 

son-in-law,  Mazo.  The 
world-wide  fame  of 
Velazquez,  and  the 
eagerness  of  collectors 
to  secure  examples  of 
his  art,  unfortunately 
led  to  the  attribution 
to  the  master  of  many 
works  by  his  followers, 
and  as  far  back  as  in 
the  days  of  Cean  Ber- 
mudez,  heads  and 
figures  were  cut  out 
of  pictures  by  Antonio 
Puga,  one  of  Velaz- 
quez's imitators,  to  be 
shipped    to     England 

and  sold  as  originals  by  the  master.  Only  in  recent 
years  have  serious  attempts  been  made  to  ascertain  the 
authorship  of  many  doubtful  works,  and  to  separate 
the  paintings  of  Velazquez  from  those  of  his  gifted 
pupil,  del  Mazo.  Sefior  de  Beruete  y  Moret  devotes 
only  a  short  chapter  to  the  art  of  Velazquez,  of  which 
little  remains  to  be  said  after  the  exhaustive  study 
devoted  to  the  master's  art  by  the  author's  lather;  but 
Beruete  y  Moret's  analysis  of  the  work  produced  by  the 
other  painters  of  the   School   of   Madrid   is   a  valuable 


PORTRAIT  OF  DON  TIEUE 
FROM  "THE  SCHOOL  OF 
BY    A.    DE    BERUETE    Y    M 


his  investigation  upon  the  Family  of  Ma  o 
formerly  attributed  to  Velazquez)  at  the  Vienna 
Gallery,  and  on  a  few  authentic  signed  works  by  the 
ile  <'t  the  master's  followers,  the  author  suc- 
ceeds  in  convincing  us  that  Mazo  is  responsible  tnr 
inany  a  picture  that  still  passes  under  the  mine  illus- 
trious name,  such  as 
the  Admiral  Pulido 
Pareja  at  the  National 
Gallery,  and  the  two 
cms  of  /><>/i  Bal- 
ta  .11  (  arlos  in  the 
Riding  School  in  the 
Wallai  e  Collection  and 
in  the  Duke  of  West- 
minster's Collection. 
The  personality  of 
Mazo  en  ei  ges  as  that 
of  a  master  second 
only  to  Velazquez  him- 
self, although  even  his 
greatest  achievements 
show  certain  traces  of 
weakness  which  are 
never  found  in  the 
work  of  the  head  of 
the   School. 

The  same  thorough 
method  of  research  is 
applied  to  the  work  of 
Velazquez's  talented 
mulatti  i  slave,  Juan  de 
Pareja,  to  the  brothers 
Rizi,  to  1'ereda,  Car- 
refio,  Cerezo,  Claudio 
Coello,  and  scores  of 
more  or  less  gifted 
painters  of  the  second 
and  third  rank,  whose 
\  e  r  y  n a  m  e  s  have 
been  almost  forgotten, 
and  \vhose  fame  has 
been  obscured  by  the 
towering  genius  of 
Velazquez.  To  Juan 
Rizi  the  author 
attributes  an  inten  st- 
ill"     portrait       of     a 


(DUCKWORTH 


JD    CO.) 


has 


boy  in    Sir   Freder 
jug    been    a    puzzle 


ind 


jensable  supplement   to   Beruete' 


Cook's    Collection, 

students. 

Thus,  the  development,  or  rather  decline,  of  the 
School  is  traced  to  the  dying  days  of  the  seventeenth 
century,   when  I.uca   Giordano's  showy  and  n 

.kill  gained  the  day,  and  Spanish  art  lost 
its  national  character  and  seriousness  m  tin-  imitation 
ot  the  imported  decadent  Italian  manner.  It  is  stir- 
that  the  author,  in  spite  ol  Senoi  l 
recently  published  discovery,  still  gives  the  wrong  date 
nt   El  i  Ireco's  birth. 


The    Connoisseur 


Avebury 
Font 


The  Church  of  St.  James,  Avebury,  North  Wilts, 
is  famous  for  its  remains  of  Saxon  and  Norman 
architecture.  When  the  writer  was 
conducting  archaeological  excavations 
at  the  great  stone  circle  of  Avebury 
last  spring,  he  secured  a  good  photograph  of  the 
west  side  of  the  font,  of  which  the  accompanying 
illustration  is  a  representation. 

This  tub  font  (probably  intended  for  immersion) 
is  Saxon  in  character,  with  Norman  ornamentation 
of  the  first  quarter  of  the  twelfth  century.  By  some 
the  bowl  is  regarded  as 
Saxon  of  a  bo  u  t  a.d. 
ijoo,  the  carving 
added  later.  It  is  cir- 
cular in  plan,  with  an 
external  diameter  at  top 
of  30J  in.  ;  internal  dia- 
meter, 25  in.  It  stands 
41  in.  high  above  the 
floor,  ol  which  the  plinth 
measures  5  in.  thick,  and 
:stal  with  cham- 
fered edge,  on  which  the 
font  stands,  7  in.  The 
font  is  lead  lined,  the 
in  a  \  i  in  u  in  internal 
depth  of  the  bowl  being 

The  figure  of  a  bishop, 

the  w  e  st  end 
of  the  church,  is  saiil 
to  have  a  nunc,  now 
almosl  pletely  ob- 
literated ;   a  sta| 

ilc-  position  of 

the   chain   foi    the    plug   of   the   font    was   fixed   here, 

anil  has  played    havoc    with   the    bishop's    features   for 

I  [e  holds  a  book  to  his  heart  with 

his   left   hand,   and     I    in   Ins   right   hand,  with 

which    he  is  •■  bruising  "  the    hen!   ol    ■<    dragon    01 
in     its     turn     is     bruising     his     heel 
0  devour 
I 
on    the  bishop's   left   side,    but   this   is    in    und 

ppei   pari  i  1  >l 
capitals,   win.  h   is  typical   ol 


FONT    A  1     I  III     I  in   Ri   11 


Sculthorpe  (Norfolk),  Alphington  (Devon),  Corfe  and 
West  Camel  (Somerset),  etc. 

The  symbolism  of  the  Avebury  font  may  represent 
the  fall  of  man,  and  the  initial  recovery  of  his  lost 
estate  through  the  washing  of  the  water  of  baptism. 

"An  ^Esthetic  Conversion"       Heal  &  Son 

An  ^Esthetic  Conversion    is    the   title    of  a   dainty 
little   brochure   from    the   pen    ol    Mr.    Joseph   Thorp, 
published    by    Messrs.    Heal   &   Son.      In    his    preface 
the  author  states  that   "these   notes  are   put   together 
and    published    entirely 
at    my  own  suggestion ; 
that   therein   I   have  ex- 
pressed   my    individual 
judgments,  unhampered 
bythe usual  limitations." 
"This,"  he  continues, 
"  should  make  the  notes 
a    better   guide    to    the 
spirit  and   character   of 
this  old-established  and 
justly-respected  house  of 
business    than    the    dis- 
counted   utterances    of 
the  ordinary    trade   an- 
nouncement." 

Embellished  with  a 
number  of  excellently- 
drawn  illustrations,  and 
tastefully  bound  in  grey 
boards,  the  volume  is 
well  worthy  of  the  per- 
usal ol'  those  interested 
in  furniture  thoughtfully 
designed  and  soundly 
wrought. 


ST.     JAMES,     AVI.  I 


BooKs  Received 

,   Parts  V.  XL.  and  XII.,  7,1.  net. 
(Cassell  &  <"<>..  Ltd.) 
St.  Fran    .     !  •    :  ■■    ■  ■,:■-  ,t  ,t\un  I.'Ail  Primilifs 

■     t>)    Arnold  Goffin.     (i..  Van  Oesl  S  Co.) 

,1    1  .  Mr.liun.  ,,,1.     (B   x  I.  I-'.  Meehan  ) 
,     bj  Waltei  1  .cm  Ross,  2s  61I  net.  (V\  1  I  Ross.) 
1 .    civ .    1909,    X...    39,    Vol.    X..    by    I.    Y.    W. 
I     ..,  F.S   \..  js.  11.  1.     (Alex.  Mi. line,  1. 1.1.) 

.    fan    \\  II .,  by 
II.  I.  .nni  W.  P.  V\  righ  .  \ 

Pari  XIV.,  by  P.  G.I  .  M.  W    Bro.  kwell,  ami  F.  W. 

Ii\     Haldane    Macfall, 

I'     ■  ■     I ly,    is.    o«l.    net. 

I     -  1     ■      Jack.) 

»,    i  ••     Vgnes   1 1,  rliert,    illustrated   by   I  lonald 
Mas  veil,  1  1  ,hn  I  .  in 

..,  Vols.  I.  and 
[I.,  by  I  1     ■  1  i  |ohn  Murray.  1 

Tht  Rom  ti  K.  J.  Andei  - id 

■ 

.   Old  1  Books,    bj     K.-v. 

I       :  .  urrtiit, 

I    ,     111 


I^Z^EZ 


=fie 


N®T^ANPQU^RI^ 


[The  Editor  invites  the  assistance  of  readers  of 
The  Connoisseur  Magazine  who  may  be  able  to 
impart  the  information  required  by  Correspondents.} 

Antique  Sword. 
Dear  Sir. — I  enclose  photographs  of  a  sword 
which  has  been  in  my  possession  for  ma  years, 
and  which  apparently  bears  the  heads  of  Charles  I. 
and  his  Queen.  1  should  be  glad  to  know  if  any  of 
your  readers  can  give  me  any  particulars  regarding  it. 
Yours  faithfully, 

HERBER  I     l  '.I'AN  STONE. 

Unidentified  Country  Hoi  -i  . 
Dear  Sir, — In  the  July  number  of  'I'm,  Con- 
noisseur Magazine  information  is  required  about 
an  unidentified  country  house.  I  think  it  is  the 
house  at  Haarlem  (Holland),  now  used  as  a  Colonial 
Museum,  at  the  entrance  of  the  Haarlem  wood.     The 


lawn  is  at  the  present  time  a  deer  park.  In  the 
tenth  century  the  house  was  built  by  the  Amsterdam 
banker  Hope,  who  was  of  Knglish  birth.  He  was  the 
founder  of  the  well  known  banking-house,  Hope  &  Co  , 
still  existing. 

If    you    might    take     interest,    I     will     try    to     get 
photographs  of  the  building  in  its  present  form. 
I  am,  dear  Sir, 

Yours  faithfully. 

YV.  Van   der  Tak. 

Unidentified  Country  Hoi  se. 
Dear  Sir.— The  "Unidentified  Country  House" 

on  page  191   of   the    July    CONNOISSEUR    MAGAZINE  is 

Bedgebury  Park,  near  Hawkhurst,  the  late  residence 
of  Mr.  Beresford  Hope.  It  has  recently  been  altered 
by  Mr.  Lewis,  the  owner,  a  South  African  millionaire, 
who  bought  it. 

I  remain,  yours  very  truly.   J.    Langhorne. 


ANTIOCE      SWORD 


The    Connoisseur 


Uniden  riFiED  Country  House. 
Dear  Sir, — I  am  not  acquainted  with  the  look 
oi  Deepdcne,  Dorking:  bvit  since  that  house  was. 
at  the  end  of  the  eighteenth  century,  the  seat  ol 
the  well-known  art  patron  Mr.  Hope,  I  venture  to 
hazard  the  suggestion  that  the  Country  House  of 
winch  Mr.  Leggatl 
sent     a      photo 

dene. 

ithfully, 
F.  M.  Clement 


ll"i  Bi  in'-  "Sir 
Thomas   Mi  iri  .' 
Dear  Sir,     On  page 
is  |   ol   your  July    issue 
paragraph 
about     Holbein's    Sir 
Thomas    More  and  his 
family,    and    the    dis- 
appearance   of    the 
pii  tine.     A   description 
nf  this    picture   may    be 
found   m   Mr.   Hutton's 
Burford    Papers,   pages 
[8,  19       It    formerly 
il    tu  the    Li  nt- 
hall  family,  and  possibly 

[.,  and 
thence  obtained  by 
Speaker  Lenthall. 

that    the 

fi     is     now    '•  at 

i  1     Pari  . 


d  in   m\    Sir    Thomas  Mo 
I  remain 


Unid 

1 


, , .  hi   which  you 

I     III     VnUI 


Tune  number,  has  been  identified.  It  is,  as  I 
assumed,  after  Rembrandt,  and  was  engraved  by 
T.  Spilsbury.  The  lettering  on  a  print  impression 
is  as  follows  : — 

"A^Dutch  Lady  after  a  picture  by  Rembrandt  in 
the  possession  of  William  Baillie  Esq.  published 
August  25th  1769  and 
sold  by  Henry  Parker 
at  No.  82  m  Cornhill, 
London.'' 

The  proof  was  evi- 
dently unknown  to 
Chaloner  Smith  ;  but  he 
describes  a  print  im- 
pression on  page  1.335, 
No.  40. 

Yours  faithfully, 
H.  W.   Brtjton. 

Old  English 
Tapestry. 

Sir, — Would  owners 
of  old  English  tapestry 
bearing  the  names  of 
the  makers  Poyntz, 
Saunders.  Bradshaw.  or 
Vanderbank  kindly 
send  me  particulars 
thereof  for  an  illustrated 
book  which  I  am  com- 
piling on  the  subject. 
Yours  truly, 
E.  Alfred  Jones. 

Unidentified 

I'i  IRTRA1T. 

Dear  Sir, — I  shall  be 

glad  if  you  will  kindly 
insert  in  The  Connoissei  1  M  usazine  a  reproduction 
of  the  enclosed  photograph  with  a  view  to  ascertaining 
the  subject  and  artist  if  possible.  The  si/.e  of  the 
canvas  is  _■  it.  2  in.  by  1  It.  5  in.  The  name  ol 
the  aitist  is  illegible,  but  the  date  upon  it  (almosl 
illegible)  app  ars  to  be    1691.      The   picture    has  been 

in  the  possi    sion  ol  my  family  for  very  mam  years.  • 
Yours  faithfully,   K.   E.   Ai  1  1  v 


ely  of  the  first  importance, 
during  the  concluding  two 

or  three  weeks  of  the 
season  are   usually  of 


eel 


e  i  ii 


Sir  Cuthbe 


character-  an  omnium 
gatliei  it  m  of  small 
properties  which  have 
accumulated  during 
the  spring"  months. 
This  year  at  Christie's 
July  included  the  most 
important  collection 
Iter's  —  and   two  other 


of  the    year 
noteworthy  sales. 

The  various  ancient  and  modern  pictures  sold  on 
July  2nd  were  derived  from  several  sources;  but  much 
of  the  interest  of  the  day  was  provided  by  three  of  the 
four  pictures  the  property  of  Mr.  E.  W.  Parker,  J. P., 
of  Skirwith  Abbey,  Cumberland.  The  most  important 
of  these  was  a  striking  version  of  Rembrandt's  Descent 
from  the  Cross,  55  in.  by  42  in.,  signed  and  dated  1651  — 
this  picture  has  probably  been  in  England  for  over  a 
century  and  a  half;  in  1834  it  was  sold  as  the  property 
of  Viscountess  Hampden,  when  it  brought  only  .£139. 
At  the  J.  A.  Beaver  sale  in  1840  it  was  bought  in  at 
240  gns.,  and  since  that  date  it  had  disappeared  from 
public  notice  ;  it  was  now  purchased  by  a  Paris  dealer 
at  7,800  gns. — a  considerable  advance  on  the  previous 
auction  record  in  this  country,  the  6,700  gns.  paid  in 
1893  for  the  portrait  of  the  Wife  of  Biirgomaser  Six. 
Another  important  picture,  untraced  by  all  recent  wi  iters, 
was  Turner's  East  Coives  Castle,  the  Seat  of  J.  Nash,  Esq., 
the  Regatta  Beating  to  Windward,  36  in.  by  48  in., 
painted  for  John  Nash  (at  whose  sale  in  1835  it  sold 
for  190  gns.),  and  exhibited  at  the  Royal  Academy  of 
1828  ;  this  realised  6,500  gns.  The  companion  picture, 
also  painted  for  Nash,  and  exhibited  at  the  Academy 
of  1828,  was  purchased  at  Nash's  sale  and  passed  with 
the  Sheepshanks  collection  into  the  South  Kensington 
Museum.  A.  Cuyp,  A  Town  on  a  River,  sunset  effect, 
40  in.  by  52  in.,  signed,  1,680  gns.;  and  R.  Wilson, 
Solitude,  40  in.  by  50  in.,  350  gns. 

The  sale  included,  in  the  order  of  the  catalogue,  the 


following:— A  drawing  by  J.  Holland,  The  Church  of 
the  Gesuati,  Venice,  18  in.  by  37  in.,  245  gns.  Pictures: 
R.  P.  Bonington,  View  on  the  French  Coast,  low  tide, 
with  figures,  14  in.  by  20  in.,  155  gns.;  A.  Cuyp,  Rivet 
Scene,  with  boats  and  figures,  evening,  on  panel,  23  in. 
by  40  in.,  550  gns.;  two  by  F.  Guardi,  Santa  Maria 
delta  Salute,  Venice,  with  gondolas,  11  in.  by  16  in., 
250  gns.;  and  A  View  of  "La  Zuecca,"  with  boats  and 
gondolas,  10  in.  by  iS  in.,  305  gns. — both  from  Lord 
Farnham's  collection,  1869.  Past=ls,  each  22  in.  by 
25  in.,  by  D.  Gardner,  three  children  of  David  Lewis, 
of  Malvern  Hall:  Elisabeth,  afterwards  Lady  Croft,  in 
white  dress  with  mauve  scarf,  in  a  landscape,  300  gns.  ; 
Maria,  afterwards  Lady  Dysart,  in  white  dress  with  pink 
bows,  a  dog  by  her  side,  420  gns.  ;  and  Da-aid  Greswolde 
Lewis,  m  brown  coat,  blue  vest,  and  white  breeches, 
100  gns.  A  pastel  by  J.  Russell,  Girl  with  a  Spaniel, 
24  in.  by  18  in.,  engraved  by  P.  H.  Tomkins,  480  gns. 
Pictures:  J.  Northcole,  Mrs.  Collingwood,  in  white  and 
gold  dress  with  red  cloak,  30  in.  by  25  in.,  195  gns.  ; 
Sir  M.  A.  Shee,  Portrait  of  Mrs.  Anna  Shawe  Leeke, 
in  red  dress,  with  a  dog  on  the  sea-shore,  93  in.  by 
57  in.,  100  gns.  ;  J.  van  Huysum,  Flowers  and  Una!. 
Vests,  on  panel,  31  in.  by  23  in.,  230  gns.  ;  F.  Pourbus, 
Portrait  of  Mary  Queen  of  Scots,  in  black  dress  and 
white   head-dress,  on  panel,   19  in.  by   15  in.,   180  gns.  ; 

E.  De  Witte,  Interior  of  Amsterdam  'Cathedral,  with 
numerous  figures,  75  in.  by  64  in.,  400  gns.  ;  Vigee  Le 
Brun,  Portrait  of  a  Lady,  in  white  muslin  dress  with  blue 
s.ish  and  bow,  ^o  in.  by  24  in.,  900  gns.  ;  Sir  G.  Kneller, 
Portrait  of  John  Dale  of  Marlborough,  in  brown  dress 
and  red  cloak  with  flowing  wig,  battle  in  the  background, 
64  in.  by  53  in.,  800  gns.  ;  Sir  J.  Reynolds,  Portrait  of 
a  Gentleman,   in   red  coat  and   brown   vest,   white  stock, 

29  in.  by  24  in.,  180  gns.  ;  A.  Cuyp,  Portrait  of  a  Youth, 
in  rich  red  cloak,  at  a  window,  on  panel,  20  in.  by  16  in., 

1.  .  ;  J.   Hoppner,   Portrait  of  William   Robertson, 
in    dark    blue    coat     with    black    collar,    white    cravat, 

30  in.  by  25  in.  ;  W.  Williams,  Courtship  and  Matri 
mony,    23    in.    b)     18    in.,    1786,    a    pan    engraved    by 

F.  Jukes,  300  gns.;  J.  Van  Goyen,  River  Scene,  with 
boats,  figure--,  and  animals,  on  panel,  15  in.  by  23  in., 
290  gns.  ;  |.  B.  Greuze,  Portrait  of  Jacaues  Xecker,  in  lilac- 
coloured  coat  and  white  vest,  16  in.  by  [3  in.,  160  gns 


The   C  'onnoisseur 


(,.  Morland,  The  Comforts  of Industry  and  The  Miseries 
of  Idleness,  a  pair,  12  in.  by  14  in.,  engraved  by 
H.  Hudson,  1790,  820  gns.— this  pair  was  presented  by 
George  Morland  to  E.  Collins,  of  Maize  Hill,  Green- 
wich, great-grandfather  of  the  vendor,  Mr.  Edward 
Collins  Wood,  of  Keithick,  Coupar  Angus  ;  G.  Romney, 
Portrait  oj  Admiral  Sir  John  Orde,  Bart.,  in  captain's 
uniform  of  blue  coat,  white  vest  and  breeches,  50  in.  by 
40m.,  1,680  gns.;  N.  Maes,  Portraits  0]  a  Gentleman, 
in  black  gown  with  white  linen  collar,  seated  in  an 
armchair,  and  of  his  wife,  in  black  dress  with  white 
lawn  at  the  neck  and  on  the  sleeves,  a  pair,  44  in.  by 
36  in.,  signed,  2,150  gns.;  J.  Hoppner,  Portrait  oj  a 
11  white  dress  with  black  lace  shawl,  seated,  with 
1 1.  1  two  daughters,  50  in.  by  40  in.,  i,45°  gns.  :  and 
Sir  11.  Raeburn,  Portrait  of  Master  Thomas  Blisland, 
in  green  dress  with  loose  white  frilled  collar,  seated  on 
a  bank,  56  in.  by  44  in.,  5,400  gns. 


'I'm.  great  sale  of  the  season — one  of  the  greatest, 
indeed,  for   many  years — was  that  of  the  collection  ot 

pictures  and  drawings  of  .Sir  \V.  Cuthbert 
The  Quilter  Quilter,  who  has  disposed  of  his  house 
Collection  and  picture  gallery  at  74,  South  Audley 

Street,  London.  The  sale  was  held  by 
Messrs.   Christie  on  July  9th,  and  an  illustrated  account 

of  the  collection  appeared  in  The  Connoissei  r  Maga- 
1,1  m|  that  month.  There  were  1  24  lots,  which  showed 
a  total  of  ^87,790  ios.,  but  one  or  two  pictures — particu- 
larly Holman  Hunt's  Scapegoat  -probably  did  not  rea<  h 
Mi,  ri  ;erves,  which  in  all  cases  were  declared  b)  the 
auctioneer  to  be  small.  The  sale  was  regarded  .1^  a 
most  successful  one.  and  the  prices  higher  than  had  bei  n 
anticipated.  The  popularity  of  several  of  the  artists 
who  e  works  an  represented  in  tin,  sale  1-.  no  longer 
wii.it  it  had  b<  en  :  there  was  consequi  ntl\  .1  1  mi  uli  1 . 1 1 ■  l< 

mat  [in   1  «1  •-.  een   pasi    and   | ti   pi  ii  es       I  he  lo  ;  in 

1  in, n,  howevei .  wa    1  ounterbalani  1  d  b]  I 

thi    cot i    valui    , ,i    11  ime  of  the  other 

■ 
sale.      Water-colour   drawings,    English    School:     Ford 
.1  '     1     Brown       ■      0   Foscari,    j;    in.  bj    24  in.,    1S70, 
260   gns. — from    the   F.   Cravei      ale,    ll 

the  chain 
;  C  1  ielding,  Si  ot  h  Mountain 
en   Ma/ee,    with    mist,    17    in.    b)     \;    in..    184,1, 
he  1  umner  sale,  1 

A.  C.  <  ■  /.  onists,   19  in. 

225   gns.  ;   S.   Prout,   Milan,  a  \   1 

fi   ures,  20  in.   by  27  in., 

!        I  l,.    \\   ml. 

On  the  River  Arun,  17  in.  1  oni  nental 

- 

Door, 

■ 
with  a  Howl  of  Soup,  1 

A.    M.iuv,,  Land  p  unaer 


some    frees,  12  in.  by  8  in.,  200  gns.,  and  Peasant  Girl 
and  Five  Cows,  6  in.  by  12  in.,  225  gns. 

Modern  pictures,  Continental  School:  C.  Bisschop, 
The  Crown  Jewels,  a  portrait  of  the  son  of  Sir  Henry 
Howard,  K.C.M.G.,  in  a  page's  dress,  and  holding  a  red 
cushion  on  which  are  a  coronet  and  jewels,  47  in.  by 
31  in.,  150  gns.  ;  P.  J.  Clays,  A  Calm  on  the  Scheldt, 
panel,  24  in.  by  43  in.,  1867,  320  gns.— from  the 
S.  Plummer  sale,  18S2  (300  gns.) ;  J.  B.  C.  Corot,  Souvenir 
,/e  la  Villa  Pamphili,  15  in.  by  21  in.,  etched  by  Lalanne, 
1,350  gns.;  C.  F.  Daubigny,  Les  Laveuses,  a  view  on 
the  River  (Use,  panel,  15  in.  by  26  in.,  1873,  1,550  gns.  ; 
N.  Diaz,  Venus  and  Adonis,  in  a  landscape  accompanied 
by  <  upids,  on  panel,  17  in.  by  14  in.,  800  gns. :  E.  Frere, 
The  Young  Student,  panel,  10  in.  by  8  in.,  1877,  115  gns.  ; 
C.  van  Haanen,  Trying  on  the  Ball  Dress,  a  scene  in  a 
Venetian  dressmaker's  workroom,  28  in.  by  17  in.,  1884, 
100  gns.  ;  H.  Harpignies,  Poplar  Trees  at  Herisson, 
17  in.  by  14  in.,  170  gns.  ;  E.  Isabey,  The  Favourite,  or 
My  Lady's  Parrot,  panel,  13  in.  by  10  in.,  280  gns.; 
two  by  J.  Israels,  Watching  the  Cradle,  30  in.  by  24  ins., 
2,250  gns.  :  and  Children  of  the  Sea,  panel,  9  in.  by 
13  in.,  450  gns.;  Franz  Van  Lenbach,  Portrait  of 
Signora  Eleonora  /'use,  the  actress,  in  brown  dress 
with  white  sleeves,  oval,  32  in.  by  28  in.,  1886,  560  gns.  ; 
Baron  H.  Leys,  Martin  Luther  reading  the  Bible  to  his 
Companions,  on  panel,  27  in.  by  41  in.,  1865,  560  gns. — 
from  the  C.  Kurtz  sale,  1880(1,150  gns.);  J.  F.  Millet, 
leune  Fille  atlrapee  par  des  amours,  panel,  25  in.  by  10  in., 
600  gns.  ;  M.  Munkacsy,  The  Two  Families,  a  lady  and 
her  1  hildren  in  an  apartment,  feeding  some  puppies,  panel, 
16  in.  by  23  in.,  270  gns.— the  original  study  for  the 
Academy  picture,  and  from  the  sale  of  W.  H.  Michael, 
1887  (510  gns.);  and  Hermann  Philips,  A  Musical 
Reverie,  panel,  32  in.  by    25  in.,  160  gns. 

English  School:    K.  P.  Bonington,  The  Grand  Canal, 

Venice,  8    in.  by    11    in.,    sketch    for    the    large    picture, 

j6o     gns.— from      the     Novar    sale,     18S0    (100    gns.); 

Sir  E.  Burne-Jones,  Green  Summer,  group  of  eight  girls 

seated  upon  the  grass  listening   to  a  story  which  one  of 

them  is  reading,  26  in.  by  42  in.,   1S68,  320  gns. —from 

the  W.  Graham  sale,  1886(500  gns.)  ;  J.  Constable,  West 

End  i  ields,  Hampstead,  noon,  13  in.  by  20  in.,  600  gns. 

from  Capt.    C.    G.  Constable's  sale,    1887  (2S0  gns.); 

]  1.  (  ox,  1  Outskirts  of  a  Wood,  open  moorland  at  thi   1  dgi 

vood    Forest,  27  in.  by  35  in.,  exhibited  at  the 

Academy,  1845,  1,650  gns      from  the   E.  C.  Pottei    sale, 

18S4   (1,350   gns.);    J.   Crome,   A    Squall  o[f  Yarmouth, 

20  in.  by  32  ;  H.  W,  II.  Davis,  Loch  Maree, 

cattle  and    heep  in  thi   foreground,  sunset,  9  in.  by  19  in., 

1SS2,  1 10  gns.  ;  Keeley  Halswelle,  Shooter's  Hill,  Pang- 

;  in.  by  24  in.,  1879-92,   245  gns.:  S11    II.  Von 

llerkoniei.    The    Last   Muster:    Sunday  at  the    Royal 

,  Chelsea,   82  in.  by  6i   in.,   1875,  engraved  by 

A.    I  inn  II:    frequently  exhibited,  winning  the  mddaille 

Phonneur  at  Paris  in  1878,  3,100  gns. ;  \V.  Holman  Hunt, 

!  in.  by  5 1  in.,  painted  at  1  )osdoi  mi,  on 

1  m,  rusted  shallow     oi  the   I  '1  ad 

I  oyal  Ai  ademy,   1856,  and 

ed  by  C.  Mottram  fron  three  pre\  ious 


In   the  Sale   Room 


sales:  B.  G.  Windus,  1S62  (475  gns.),  J.  Heugh,  1878 
(4S0  gns.),  and  Sir  Thomas  Fairbairn,  1887  (1,350  gns.  : 
Sir  Edwin  Landseer,  Scene  from  the  Midsummei  \ 
Dream,  with  Titania  and  Bottom,  fairies  attending,  Pea 
blossom,  Cobweb,  Mustard-Seed,  Moth,  etc.,  31  in.  by 
52  in.,  painted  for  J.  K.  Brunei's  Shakespeare  Room, 
exhibited  at  the  Royal  Academy,  1851,  and  engraved  by 
S.  Cousins,  2,400  gns.  —  from  the  Brunei  sale,  i860 
(2,800  gns.);  Cecil  G.  Lawson,  The  Doone  Valley,  North 
Devon,  41  in.  by  53  in.,  from  the  Royal  Academy,  [882, 
2,250  gns. — from  the  B.  Priestman  sale,  1896  (550  gns.), 
and  the  C.  A.  Barton  sale,  1902  (1,638  gns.) ;  two  by  B.  W. 
Leader,  both  exhibited  at  the  Royal  Academy,  1883, 
and  engraved  by  Brunet  Debaines,  Parting  Day, 
43  in.  by  71  in.,  1,200  gns.;  and  Green  Pastures  and 
Still  Waters,  47  in.  by  71  in.,  1,150  gns.;  Lord 
Leighton,  Cymon  and  Iphigenia,  64  in.  by  129  in.,  from 
the  Academy  of  1884,  2,250  gns.;  J.  Linnell,  sen., 
On  Summer  Eve  by  Haunted  Stream,  27  in.  by  35  in., 
1853,  500  gns. — from  the  A.  Wood  sale,  1874  (795  gns.  ; 
three  by  Sir  John  E.  Millais,  Murthly  Moss,  Perth- 
shire, 50  in.  by  73  in.,  from  the  Academy  of  1887,  and 
etched  by  Brunet  Debaines,  3,000  gns.  ;  Joan  of  Arc, 
small  full-length  figure  in  armour,  with  red  skirt,  kneel- 
ing, facing  the  spectator,  31  in.  by  23  in.,  Royal  Academy, 
1865,  700  gns. :  and  Portrait  of  the  Rt.  Hon.  John  Bright, 
three-quarter  length,  standing,  in  dark  clothes,  50  in.  by 
36  in.,  Royal  Academy,  18S0,  engraved  by  T.  O.  Barlow, 
680  gns.  ;  P.  R.  Morris,  Piping  Home,  20  in.  by  30  in., 
115  gns.;  Sir  YV.  Q.  Orchardson,  The  Challenge,  a 
Puritan's  struggle  between  honour  and  conscience,  25  in. 
by  41  in.,  1,000  gns. — from  the  S.  Plummer  sale,  1882 
(480  gns.)  ;  J.  l'ettie,  Sweet  Seventeen,  a  portrait  of 
Miss  Lizzie  Bossom,  in  black  dress,  with  lace  fichu  and 
red  rose,  panel,  34  in.  by  30  in.,  exhibited  at  the  Institute 
of  Painters  in  Oils,  18S3,  620  gns.  ;  J.  Phillip,  Selling 
Relics,  Cathedral  Porch,  Seville,  62  in.  by  S4  in.,  the  last 
picture  painted  by  the  artist,  950  gns. — from  the  Hermon 
sale,  1SS2  (3,750  gns.)  ;  G.  J.  Pinwell,  Oat  of  Tune:  the 
Old  Cross,  a  man  and  woman  seated  on  the  steps  of  a 
village  cross,  a  scene  in  Bricknoller  Churchyard,  with 
the  Quantock  Hills  behind,  38  in.  by  50  in.,  1869, 
560  gns.— from  the  Artist's  sale,  1S76  (60  gns.); 
Sir  E.  J.  Poynter,  Under  the  Sea  Wall,  22  in.  by 
14  in.,  Royal  Academy,  188S,  1,000  gns.;  Briton 
Riviere,  The  Magician's  Doorway,  42  in.  by  62  in., 
1882,  620  gns.;  1).  G.  Rossetti,  La  India  Mano, 
a  three-quarter  length  female  figure  washing  her  hands 
in  a  bowl,  an  angel  on  either  side  of  her,  62  in.  by  46  in., 
1875,  2,000  gns.— from  the  F.  S.  Ellis  sale,  [885 
(S 1 5  gns.);  F.  Sandys,  Portrait  of  a  Lady,  in  white  and 
yellow  striped  dress,  panel,  18  in.  by  14  in.,  210  gns. ; 
J.  Stannard,  A  Coast  Scene,  23  in.  by  36  in.,  300  gns.  ; 
J.  M.  W.  Turner,  Venus  and  Adonis,  60  in.  by  47  in., 
painted  about  1S06-1810,  4,000  gns. — from  the  (ohn 
Green  sale,  1S30  (83  gns.),  and  the  Beckett  Deni  0 
1885  (1,450  gns.);  G.  Vincent,  Greenwich  H<'spitai,  .1 
view  of  the  river,  with  numerous  boats  and  ships,  27  in. 
by  35  in.,  1827,  1,060  gns.— from  the  F.  Fisher  sale,  1888 
(740   gns.)  ;    F.    Walker,    The  Bathers,   36   in.  by  84  in., 


exhibited  .it  the  Royal  Academy,   [867,  and  etched  by 

P..  W.  Macbeth,  2,900  gns. — from  the  W.  Graham  sale, 
.500  gns.);  and  J.  W.  Waterhouse,  Marianne, 
Wife  of  Herod,  105  in.  by  72  in.,  illustrating  a  passage  in 
fo  '  phus,  exhibited  at  the  Royal  Academy,  1887,  480  gns. 
Early  English  pictures:  Sir  W.  Beechey,  Portrait  of 
Mis.  Archer,  in  short-waisted  white  dress,  30  in.  by 
25  in.,  S90  gns.  ;  J.  W.  Chandler,  Mrs.  Franklin,  in 
white  dress  with  blue  sash,  30  in.  by  25  in.,  signed  with 
initials  and  dated  1793,  1  10  gns.;  G.  H.  Harlow, 
Portrait  Group  of  Mrs.  Hopwood  and  her  three  young 
Children,  36  in.  by  2S  in.,  720  gns. — from  the  Duncan 
Dunbar  sale,  1894  (185  gns.);  Sir  J.  Reynolds,  Venus 
and  Piping  Tor,  50  in.  by  40  in.,  purchased  from  the 
artist  by  J.  J.  Angerstein,  in  whose  family  it  remained 
until  1885,  when  it  passed  into  the  Quilter  collection, 
6,400  gns.  ;  and  the  original  sketch  for  the  picture  in  the 
National  Gallery,  The  Graces  Decorating  a  Terminal 
Figure  of  Hymen,  22  in.  by  28  in.,  400  gns.  ;  ( 1.  Romney, 
Portrait  0/  Mis.  Jordan,  in  white  dress,  cut  low,  pink 
sash,  and  white  muslin  head-dress,  50  in.  by  40  in., 
4,800  gns.— from  the  E.  C.  Potter  sale,  1S84  (700  gns.); 
Sir  M.  A.  Shee,  Portrait  of  Mrs.  Stephen  Ketnble  as 
"  Cowslip  "  in  "  'The  Agreeable  Surprise,"  whole  length, 
in  white  dress  with  blue  shawl  and  high  hat,  94  in.  by 
57  in.,  exhibited  at  the  Royal  Academy,  1793,  380  gns. — 
from  the  H.  A.  Rannie  sale,  1898  (90  gns.);  and  J. 
/offan\,  Port)  ail  of  James  (Jain,  the  actor,  in  red  coat 
and  white  vest,  36  in.  by  2S  in.,   190  gns. 

Works  by  old  masters  :   P.artel   Beham,  Portraits  of  a 
Gentleman    and    His     Wife,    panel,    25    in.    by    19    in., 

fo 1 1  >-    in   the   collection  of  the  Emperor   of  Austria 

at  Schloss  Lanenburg,  near  Vienna,  900  gns.;  O.  Bre- 
kelenkam,  A  Cavalier  and  Lady  seated  at  a  Table,  on 
panel,  16  in.  by  13  in.,  signed  with  initials  and  dated 
1666,  320  gns.  ;  J.  Pantoja  de  la  Cruz,  Portrait  of  the 
Countess  Pallavicino,  three-quarter  figure  in  richly 
brocaded  dress,  large  lace  ruff,  wearing  a  coronet,  62  in. 
by  47  in.,  1,600  gns.  ;  F.  Guardi,  An  Island  near  Venice. 
36  in.  by  43  in.,  signed,  S60  gns.— from  the  Marquis  de 
Blaisel  sale,  1872  (.£170);  B.  Van  der  Heist,  Portrait  of 
a  Lady,  in  black  dress  with  white  lace  fichu  and  cap, 
2S  in.  by  23  in.,  300  gns.— from  the  Massey-Mainwaring 
sale,  1898  (46  gns.);  P.  Le  Sire,  Portraits  of  Regnier 
Strik  fohanszoon,  in  black  check  cloak  and  black  hat, 
white  linen  collar,  and  of  D'Alida  I 'an  Scharlaken,  in 
black  dowered  dress  with  large  white  run",  on  panel, 
33  in.  by  26  in.,  signed  and  dated  1637,  1,040  gns.— a 
pair  hi  fine  portraits  by  this  exceedingly  rare  Dordrecht 
master,  of  whose  work  the  only  known  example  in  a  public 
gallery  is  at  I  [anover  ;  the  incorrect  spelling  of  the  name, 
"Le  Sein,"  on  pages  169  and  170  of  THE  CONNOISSEUR 
MAGAZINE,  for  fuly,  arose  from  the  not  too  legible  signa- 
tures on  the  panels  ;  B.  I  .  Murillo,  The  Immaculate  Con- 
ception, 74  in.  by  54  m.,  painted  for  Charles  II.  of  Spain, 
ns  :  P.  Van  del  Neer,  River  Scene,  with  .1  chateau, 
windmills,  and  buildings,  panel,  12  in.  by  18  in.,  signed 
with  initials,  420  gns.  ;  J.  Ochterveldt,  The  Musi,   Lesson, 

oi   with  .1  J ig  lady  in  white  satin  dress  seated 

,ini  :,  wnli  ,1  gentleman  in  brown  dress,  37  in.  by 


Tlie   Connoisseur 


30  in.,  850  gns.— from  the  sale  of  E.  Marshall,  at  Reading, 
1897  (460  gns.);  J.  Steen,  Backgammon  Players,  panel, 

16  in.  by  14  in.,  620  gns.  ;  Velasquez,  Portrait  oj 
Mariana,  Si  ond  Wife  oj  Philip  //'.  of  Spain,  in  court 
mourning,  a  black  silk  dress,  the  borders  of  which  arc 
trimmed  with  silver  stripes  and  immense  hoops,  58  in. 
by  47  in.,  2,300  gns.;  P.  Veronese,  St.  Gregory  the 
then!  and  St.  Jerome,  a  pair  of  small  full-length 
figures,  30  in.  by  13  in.,  600  gns.;  and  P.  I)e  Vos,  A 
Pea  0,  i  and  Cock  Fighting,  53  in.  by  71  in.,  signed, 
670   gns. 

The  modern  pictures  and  drawings  of  the  Dutch  and 
Frem  h  Schools,  the  property  of  the  Dowager  the  Hon. 
Louise  Van  Alphen,  of  The  Hague,  formed  the  first 
portion  of  the  sale  on  July  16th.  The  more  important 
drawings  were  two  by  J.  Israels.  Saying  (,'raee,  17  in.  by 
22  in.,  410  gns.;  and  The  Pig-Sty,  12  in.  by  17  in., 
260  gns.  j  I .  M.11:  The  Bridge,  a  view  in  a  Dutch  town, 
with  a  wooden  bridge  over  a  canal,  20  in.  by  27  in., 
1,250  gns.  ;  and  A.  Maine.  .-/   Shepherd  and  his  Flock, 

17  in.  by  24  in.,  950  gns.  Pictures:  B.  J.  Blommers, 
Boys  Bathing,  iS  in.  by  15  in.,  200 gns.  ;  C.  F.  Daubigny, 
Moonrise,  19  in.  by  31  in.,  2oogns.  ;  N.  Dm/.  L'Heureuse 
Famille,  panel,  18  in.  by  13  in.,  150  gns.;  two  by 
II  Fantin  Latour,  Peonies  in  a  Class  Vase,  15  in.  by 
14  in.,  240  gns.;  and  Asters  and  Gladiolas  in  a  1  ■ 
Bottle,  15  in.  bj  12  in.,  1861,  170  gns.  ;  three  by  J.  Israels, 
Portrait  of  a  Girl,  in  brown  dress  ami  white  1  ap,  27  in. 
by  21  m.,  i,ooo  gns.  ;  The  Signal,  a  fisherman  seated  on 
.1  hoi, i-  waving  a  flag  to  a  boat  out  at  sea,  25  in.  by 
37  in.,  750  gns. ;  and  ./  Shrimper,  panel,  15  in.  b)  one, 

420  gns.  ;  six  by  |.  Mans,  including  Low  fide,  24  in.  by 
20  in.,  1,150  gns.;  five  by  W.  Maris,  Milking  Time, 
28   in.   by  22   in.,   750  gns.;   Feea  1  >    in.    by 

22  in.,  820  gns.  :  Ducks,  21  in.  by  36  in.,  580  gns.  ;  A 
Dutch    Dyke,  with    dinks    ni-ai     1  u..;  and 

Cattle  in  a   Pasture,   panel,  7  in    b)    i< 
,\    Mauve,  Cowi  and  Calves  in  .1  Pasture  neat  a  dale, 
n    ii.   52  in.,  700  gns.  ;  and  A.  Neuhuys,  The  Peasant 
Family,  39  in.  by  29  in.,  .'- 
The  second   portion   o)  the  day's  sale   was  made   up 

1     cellani   m     1    lortmenl   of  pictures  an<  ient  and 

:n'  ideri  I    e     important    weie :     J,     Km    dael, 

oitagi      md  figures  on  a  sandy 
path,    25  in.  by  29  in.,  signed,  760  gns.;  D.    Van   Tol, 
0         window, 
panel,    19   in.   by   14  in.,   150  gns.;  eleven  picture 

71-81). 1        o] 1   .1   gentleman," 

were  until  recently  in  the  Mel   ulloch   col 

ioper,  1 
30  in.  by  42  in.,   1  1        ;n       two  b)    Peti  1    '  Iraham, 

From   /  '<■    I  lie    Gannet 

engraved  by    |     1'.    I 

/1///1/  Cattle  in  .   1881, 

I'.     W.     Leader,    Conway    Bay    ami    /fie 
1  arnai 

•et  Hand  in   Mine  ami 
Trust  in  .1/ 

Tete,   panel, 


59  in.  by  43  in.,  620  gns.  ;  and  S.  E.  Waller,  One-and- 
Twenty,  64  in.  by  100  in.,  Royal  Academy,  1891,400 gns. 

Among  the  other  properties  were  a  pair  of  exceedingly 
interesting  and  important  small  whole-length  portraits,  by 
A.  Nasmyth,  of  Mr.  and  Mrs.  J.  Cool-burn  Ross,  3d  in. 
by  27  in.,  128  gns.;  H.  Fantin-Latour,  Azaleas  in  a 
Nankin  Jar,  r6  in.  by  9  in.,  1874,  205  gns.;  T.  Gains- 
borough, The  Artist's  Daughter  as  a  Gleaner,  29  in.  by 
24  in.,  540  gns.;  D.  Gardner,  Portrait  of  Mrs.  E.  A. 
Hall,  a  lie  no  ants  Mrs.  Morse,  29  in.  by  24  in.,  130  gns.; 
French  School,  Portrait  of  a  Lady,  in  blue  grey  dress 
and  white  satin  cloak,  3]  in.  by  25  in.,  330  gns.  ;  two 
by  ('■.  Romney,  Miss  Watson,  afterwards  Mrs.  Edward 
Wakefield,  in  white  dress  with  blue  sash,  36  in.  by 
27  in.,  1,500  gns.  :  and  Edward  Wakefield,  of  Gilford, 
1  0.  Down,  in  brown  coat  and  white  stock,  35  in. 
by  27  in.,  290  gns.,  both  painted  in  1793;  and  Sir 
H.  Raeburn,  Portrait  oj  Sir  John  Sinclair,  whole  length, 
in  scarlet  coat  with  yellow  facings,  white  vest  and  red 
sash,  94  in.  by  60  in.,  6,200 gns.  ;  this  was  the  well-known 
portrait  which  was  "  knocked-down "  at  Robinson  & 
Fisher's  in  May,  1903,  at  14,000  gns. 

On  July  23rd  the  sale  included  :  Sir  P.  Lely,  Portrait 
oj  I  lie  Duchess  of  Cleveland,  in  yellow  dress  with  blue 
scarf,  48  in.  by  39  in.,  170  gns.  ;  J.  M.  Nattier,  Portrait 
of  Mile,  de  Langeis,  in  grey  dress  with  blue  scarf,  holding 
a  flower,  4S  in.  by  36  in.,  4S0  gns.  ;  and  J.  B.  Monnoyer, 
Flower  in  a  terra-cotta  rase,  fruit,  parrots,  and  rabbits, 
90  in.  by  72  in.,  210  gns.  ;  and  on  July  28th,  the  final  sale 
of  .the  season,  only  two  lots  reached  three  figures: 
De  Bruyn,  Portrait  of  a  Genlleman,in  fur-trimmed  cloak 
and  black  cap,  an. I  a  Portrait  of  a  Lady,  in  black  dress 
with  white  ruffle  and  cap,  a  fan  in  hand,  22  in.  by  17  in., 
31..  gns.  ;  and  H.  Bosch,  The  Adoration  of  the  Magi,  on 
panel,  32  in.  by  20  in.,  185  gns. 

AMONG    a   number  of  interesting  books  belonging   to 

Colonel  Cotes,  wdiose  library  was  mentioned  last  month 

rather    more    casualh 


BOOKS 

■ 

than   it   deserved,  was 

a    very    fair    copy  of 
Wycherley's      Miscel- 
lany  Poems    of    [704, 

^ 

a  folio  which  contains 

found   m  any  English 

book.      It    represents 

the    dramatist    at    the 

e  was  .1   fashionable  young 

e    he    pi  0dU(  eil    the   first  of 

■hich  made  him  the  darling 

"  '»>  eigl 

1   town, 

.  /  o-i  e  in 

a 

of  the   court   and  of  society.     To   meet   with   the   Mis- 
'0  ms  nol    difficult,    but    a,    most    ol    the 

.us   casually   stumbled   across    have    had    the 

I,  the   sale  of  one   which   has  not  shared 
rort    -  ot  passing  notice.     It  reali  ied 

i       .111. 1    will    be   worth    more   s„n,e 

iy.      A  vi  1,     ual    1  opy    of   this    book 

iossession  of  a    well  known    linn   of 


/;/    the   Sale    Room 


booksellers  in  the  West-end,  for  which  they  asked  as 
much  as  ,£140.  It  was  a  presentation  copy  with  auto- 
graph inscription  in  Wycherlcy's  handwriting,  with 
signature,  addressed  "For  Ye  Right  Honble  the  Earle 
of  Radnor  from  his  most  obliged  and  humble  servant," 
and  had  been  in  the  library  of  Sir  Andrew  Fount. line, 
of  Narford  Hall,  Norfolk,  who  had  obtained  it  at  a 
time  when  books  had  not  the  same  sentimental  value 
which  now  distinguishes  many  of  the  nobler  sort.  A 
book  was  then  a  book,  and  this  one  but  little  better 
perhaps  than  any  other  copy  which  might  have  been 
procured  with  a  little  trouble  at  the  time  ;  but  in  our 
day  it  possesses  an  interest  altogether  exceptional,  and 
this  must  be  our  excuse  for  mentioning  it  in  this 
record  of  current  events.  The  details  of  the  romantic 
life  of  Wycherley,  surrounded  as  it  was  with  a  glamour 
which  the  portrait  seems  in  a  measure  to  reflect,  makes 
this  book,  provided  it  be  perfect,  a  great  favourite  with 
collectors  all  over  the  world. 

The  opening  sale  in  July,  which  is  always  the  final 
month  of  the  London  auction  season,  so  far  as  books 
are  concerned,  was  held  at  Sotheby's  on  the  first  and 
following  day,  the  672  lots  in  the  catalogue  realising 
,£1,183.  This  sale  was  of  a  very  miscellaneous  character, 
all  kinds  of  books  being  placed  as  they  were  received, 
doubtless  from  a  large  number  of  different  sources, 
without  regard  to  order  or  any  kind  of  arrangement, 
except  as  regards  size— the  object,  of  course,  being  to 
keep  the  property  of  different  owners  as  separate  and 
distinct  as  possible.  This  often  occurs,  and  it  is  just 
at  sales  of  this  character  that  the  book-hunter  is  most 
likely  to  gather  in  his  harvest.  The  most  noticeable 
work  among  many  which  were  distinctly  interesting  was 
a  copy  of  the  third  edition  of  Walton's  Compleat  Angler, 

with  the  date    1664    instead    of    1661,    which    is   of   1 , 

frequent  occurrence,  though  both  dates  are  equally 
correct.  This  realised  ,£60  (old  cf),  though  it  was  a 
little  soiled,  and  had  the  title-page  torn  and  a  few 
margins  wormed.  A  Breviarium  ad  /'sum  Cisterciensis 
Ordinis,  printed  at  Paris  per  Jo.  Kaerbriand  (15 — ),  Svo, 
made  ,£10  5s.  This  Breviary  seems  to  have  been  used 
in  an  English  Abbey  of  the  Cistercian  order,  as  there 
were  some  manuscript  entries  of  English  saints  in  the 
Calendar  in  a  contemporary  hand.  (  Hher  prices  realised 
at  this  sale  were  as  follows  :  — La  Fontaine's  Fables 
Choisies,  Oudry's  tine  edition  on  large  paper,  4  vols., 
folio,  1755-59,  with  the  plate  Le  Singe  et  le  Leopard 
before  the  inscription  on  the  banner,  ,£30  10s.  (contemp 
mor.,  by  Derome)  ;  Dickens's  Works,  the  Edition  de 
Luxe,  30  vols.,  1S81-S2,  royal  Svo,  £z\  (tree  cl 
Manning  &  Bray's  History  and  Antiquities  of  Surrey, 
3  vols.,  folio,  1804-14,  ^13  (hf.  cf.) ;  Dugdale's  Monasticon 
Anglicanum,  by  Caley,  Ellis,  and  Bandinel,  6  vols, 
in  8,  folio,  1S46,  .£13  5s.  (hf.  bd.);  and  a  copy  of  the 
first  edition  of  the  Genevan  or  "Breeches"  version 
of  the  Bible,  printed  in  4to  at  Geneva  by  Rowland 
Hall,  1560,  .£20  10s.  (russ.,  rebacked).  A  really  good 
and  sound  copy  of  this  Bible  is  worth  about  /.  50  ; 
but,  as  in  the  case  of  all  old  Bibles,  such  copies  are 
very  difficult  to  meet  with.     This  had  one  of  the  maps 


mounted,  and  several  others  were  supplied  from  a  shorter 

i'n  July  7th  Messrs.  Hodgson  sold  for  ,£30  an  uncut 
copy  in  its  original  wrappers  of  Charles  Lloyd's  Poems 
011  ,'/),  Ih'iilii  of  /'risri/ia  Farmer,  printed  al  Bristol  in 
1796.  This  is  mainly  interesting  on  account  of  the  con- 
tribution by  Charles  Lamb,  entitled  "The  Grandam,' 
and  to  find  the  work  in  its  original  wrappers  is  certainly 
very  unusual.  A  copy  in  that  state  was  sold  in  November, 
1896,  for  ,£5,  and  it  was  described  at  the  time  as  one  of 
the  two  copies  known,  though  others  seem  to  have  been 
discovered  since.  In  February,  1901,  a  similar  example 
sold  for  ,£50,  and  another  on  May  6th  of  the  same  year 
f°r  £3°-  I"  April,  1902,  a  copy  in  the  wrappers  realised 
,£20  (wormed),  and  in  June,  1904,  a  similar  copy  ,£28. 
These,  of  course,  may  not  have  been  different  examples 
of  the  same  work,  but  nevertheless  a  recital  of  the  prices 
realised  at  various  periods  shows  the  present  position, 
from  a  marketable  point  of  view,  of  this  very  important 
fragment  of  English  literature.  Charles  Lloyd  was  the 
grandson  of  Priscilla  Farmer,  and  though  his  verses  are, 
in  themselves,  of  comparatively  little  account,  Lamb's 
"beautiful  fragment,"  coupled  with  the  "Sonnet"  by 
Coleridge,  which  also  appears  within  the  covers  of  this 
book,  invest  it  with  an  interest  it  would  be  idle  to  affect 
to  ignore.  Up  to  this  point  very  little  need  be  said  of 
the  book-sales  of  July,  but  from  the  8th  of  the  month  to 
its  close  an  enormous  quantity  of  books  was  disposed  of, 
including  the  important  libraries  of  the  late  Dr.  Francis 
Elgar,  consisting  of  a  collection  of  works  on  shipping, 
navigation  and  the  Navy  ;  the  late  Major-General  Sir 
M.  W.  E.  Go, set,  of  Westgate  House,  Dedham  ;  Mr. 
Thomas  Blandford,  one  of  the  original  members  of  the 
Alpine  Club:  Mr.  S.  T.  Fisher,  of  Old  Queen  Street, 
S.W.  :  and  several  miscellaneous  collections  of  very 
considerable   importance. 

The  sale  of  July  8th  and  9th  was  not  productive  of  very 
much  out  of  the  ordinary,  and  it  opened  in  a  very  casual 
manner,  the  Abbotsford  edition  of  Sir  Walter  Scott's 
Wa-oerley  A'orels,  12  vols.,  Svo,  1S42-46,  realising  as  little 
as  ,£3  10s.  (hf.  mor.  gt.  .  The  edition,  good  though  it 
is,  has  gradually  fallen  away  of  late  yews.  At  one  time 
this  set  would  have  realised  ,£10,  but  later  editions 
seem  to  have  almost  entirely  supplanted  the  Abbotsford 
edition.  The  Edition  de  Luxe  of  George  Meredith's 
Works,  32  vols.,  Svo,  1896-98,  realised  .£12  10s.  (as 
issued';  Piranesi's  I'edule  di  Roma  and  Views  .i  the 
Vatican,  original  Roman  impressions,  in  3  vols.,  folio, 
made  ,£24  5s.,  although  more  than  thirty  plates  were 
missing  ;  Tanner's  Mirror  for  Mathematiques,  1 587,  4to, 
,£8  5s.  (russ.  g.e.,  some  leaves  repaired);  Glanville's 
I'e  Profit ielatibus  Rerutn,  the  Osterley  Park  copy.  1535, 
folio,  ,£23  ios.  (oak  bds.,  slightly  wormed) ;  Chapman's 
Architectura  Nai>alis  Mercatoria,  176S,  oblong  folio, 
,£11  5s.  (hf.  cf,  title  repaired  ;  and  50  volumes  of 
Transactions  of  the  institute  of  Naval  Architects,  with 
the  Index  \"ls.  [-46),  1860-1908,  4to,  £13  10s.  (cl.). 
were  all  sold  at  Sotheby's,  as  was  also  on  the 
13th  and  14th  a  most  important  collei  tion  of  illuminated 
and  othei   manu  Cl   pts  and   rare  and  valuable  old   books 


The   Connoisseur 


derived  from  a  variety  of  source?.  Although  the  catalogue 
contained  but  350  entries,  the  amount  realised  was  con- 
siderably  over  ,£5,500.  For  reasons  frequently  explained 
in  this  column  and  is  very  little  use  referring 

to  the  prices  realised  for  illuminated  manuscripts,  works 
ol  arl  of  the  kind  needing  most  elaborate  and  lengthy 
descriptions  before  they  can  be  properly  appreciated. 
In  corroboration  of  this  it  may  just  be  mentioned  that 
some  thirty  illuminated  miniatures  cut  from  old  service 
books  of  the  14th,  15th,  and  [6th  centuries  realised  sums 
from  £2  ros.  to  /:S  each,  according  to  the 
md  quality  of  their  execution.  Mere  size,  as  such, 
has  nothing  to  do  with  the  value  of  works  of  this  1  lass, 
and  the  same  remark  applies  to  illuminated  manuscripts 
in  their  entirety. 

Anion-  the  bonk,  winch  can  be  adequately  described, 
the  following  realised,  at  this  sale,  the  prices  affixed  : — 
Patrick  Cordon's  Historieof  Prince  Robert,  sin  named  the 
Bruce,  1615.  .(to,  £20  (mor.,  g.e.,  some  leaves  repaired  ; 
Mai  lowe'  •  .  Ml  1  I  he  first  edition,  printed  at 

Middlebourgh,  without  date  (but   1590),  ,£11    15s.  (mor. 
ex.);     La   Fontaine's   Contes  et  Nouvelles   en    Vers,  the 
■  iux  edition,  with  the  Cas  lie  Conscience, 

■1,     •; 1  lies,  2  vols.,  8vo, 

1762,  /50  lorig.  mor.,  b>   1  >'■ le   ;   1  lorat's  Les  Baisers, 

1770,  8\  0  ..   I  lerbert's   The   : 

1 64 1 ,  Svo,  bound  in  morocco    by  Mary   Collet,  oi   Little 

Gidding,  11  ila      Ferrar,    to   whom    George 

Herbert   left  the  1  are  and  editing  of  the  book,  £\o  5s.  ; 

.:    Haden's   Etudes  d  PEau- Forte,  25  etchings  on 

China   paper,   with    description-   by    Burty,    Paris,   1866, 

folio,  £\~i     mor.   ;    Shakespeare's   Fourth   Folio,    1(185, 

,£38  (mor.  ex.,  title  and  several  leaves  repaired   ;  1  eoi 

Meredith's  Poems,  first  edition,  with  the  Slip  ol    I  rrata 

;  an  excessively  rare  production 

■  <     ,  commencing  Tncipit  Liber 

Vacatur  Speculum  Xpistiani,   n.  d,     ,.    [484),    4to, 

,£129  (cl         □  Smeeton's    General  Biography, 

|to,  illustrated  by  the  insertion 
2,200  portraits,   many  of  them   mezzotints,  £  5 ;  ;    Wood's 

•■    l'",   ,{ 35     ' i    Bi  11 

Jonson's  Seianus,  his  Fall,  1605,  ipy,but 

the  signature  unfortunately  cut  through,  £62  nevi  cl  ; 
A    Collection   0) 

in  two  volumes,  .(to,  and  in 

1st  edition,  1645,  Svo,  /60  (old  us  cut); 

it  Pai 

and    the 

Editio  :   -  fine  1  opy  .     It 

ortrait    ol 

■ 
the    1 1. 11 :  ril      /'405  ;    and    the    m.i 

£y.\.      From  - 
and  that  by  no  1 

tant  entry  in  the 

ry    rare 


pieces,  such  as  Hamlet  ic.  161 1),  Massinger's  The  Virgin 
Martyr,  1 63 1 ,  and  The  Complaint  of  Christmas  and  the 
Teares  of  Twelfetyde,  1631,  hitherto  only  known  by  the 
entry  in  the  Stationers'  Register.  For  the  present,  at  any 
rate,  this  particular  copy  must  be  accounted  unique. 

At  a  sale  held  at  Messrs.  Puttick  &  Simpson's  about 
this  time,  a  large  paper  copy  of  Carey's  Life  in  Paris, 
1822,  Svo,  realised  ,£13  (mor.  ex.),  and  a  number  of 
other  books  substantial  prices,  e.g.,  Harris's  Portraits 
Game  and  Wild  Animals  of  Southern  Africa, 
with  30  large  coloured  plates  by  Howard,  1S40,  ,£12 
(hf.  mor.)  ;  Williamson's  Oriental  Field  Sports,  1S07, 
folio,  the  40  plates  evidently  belonging  to  the  edition  of 
1819,  as  they  all  bore  that  date,  ,£12  5s.  (mor.)  ;  Catlin's 
North  American  Indian  Portfolio,  1S44,  48  coloured 
plates  mounted  like  drawings,  £\\  5s.  (hf.  mor.); 
Cokayne's  Complete  Peerage,  8  vols.,  1887-9S,  £\\  (hf. 
cf.) ;  Loddiges'  Botanit  al  Cabinet,  on  large  paper,  20  vols., 
Svo,  1S17-33,  ,£30  (cf.  ex.,  and  hf.  mor.  not  uniform); 
and  several  works  illustrated  by  Rowlandson,  including 
Poetical  Sketches  of  Scarborough,  1812,  Svo,  £6  17s.  6d. 
(orig.  bds.,  with  label);  The  English  Dance  0/  I  hath, 
2  vols,  in  1,  Svo,  1815-16,  .£8  5s.  (hf.  cf.)  ;  The  Dance 
of  Life,  1S17,  Svo,  .£4  5s.  (hf.  cf.) ;  and  An  Academy  for 
Grown  Horsemen  and  The  Annals  of  Horsemanship, 
1S09,  Svo,  ,£5  (bds.,  with  label).  On  the  13th  Messrs. 
Christie,  Manson,  and  Woods  sold  for  ,£110  the  original 
manuscript  of  Robert  Burns's  Ay  Waukiri  0,  three 
.th  chorus  twice  repeated,  all  in  the  poet's  hand- 
writing. This  MS.  is  of  special  interest,  as  it  has  not 
apparently  been  seen  by  any  of  Burns's  editors,  nor  was 
it  hitherto  known  to  whom  the  poem  was  addressed. 
This  question  is,  however,  now  set  at  rest,  for  the  MS. 
was  headed  "Songs  for  Miss  Craig,  with  the  dutiful 
regards  of  Robt.  Burns."  Miss  Craig  went  to  Australia 
shortl)  after  the  poem  was  written,  and  it  remained  in 
that  countrj  until  .1  few  j  ens  ago. 

The  library  ol  Dr.  Richard  Watson,  who  died  in  1816, 

was  sold  at  Hodgson's  on  July  15th,  and  contained,  inter 

alia,    a    number   of    books    on    alchemy   and    chemistry 

Mi     \\  ,'  on  wa     Professor  of  Chemistry  at  Can, bridge 

ity  for  some  six  or  seven  years)  as  well  as  the 

following  :      The  Book  of  Common   Prayer  as   proposed 

mi   iIk    use  .'t  the   Protestant  Episcopal  Church  in  New 

York,  printed  at    Philadelphia  in   1786,   8vo,  .£10    con 

temp.  mor.    :  the   Bihlia   Sura  i'oiygtotta,  5   vols.,  folio, 

1514  [7,  known  as  the  "  Complutensian"  Polyglot  from 

0  of  its  having  been  printed  at  Complutum 

ome  leaves   repaired)  ;  and  the 

Biblia  Sac   a  G>    ■  t,  printed  .it   Venice  in  1 518,  the  first 

Greek    Septuagint,  £23  (cf.). 

if  Dr.  rary  00  upied  one  da  j     1 

othi       npoi  .int  works  were  disposed 
nt.  two  being   particularly  noticeable  by  reason  of  their 
.n    e    were    Vppei  lej  's    I  ip    0    a 
Spoilsman,  1st  1  1    01       red  cl.),  and  the 

I ';  (ton,  3rd  edition,   1851, 
£\o  10s  Hie  first-named  work  would 

have  realised  much  more  had  it  been  in  blue  cloth  instead 
of  in  red  est         1      ml)  were  bound  in  blue. 


In   the   Sale    Room 


The  Library  of  the  late  Major-General  Sir  M.  W.  E. 
Gosset,  sold  at  Sotheby's  on  the  19th  of  July,  contained 
a  number  of  books  of  very  considerable  interest,  the 
most  noticeable  being  a  set,  from  the  commencement  in 
1792  until  1S70,  of  The  Sporting  Magazine  in  156 
volumes,  all  except  the  last  fifty,  which  were  in  the 
unopened  parts  as  issued,  being  uniformly  bound  in 
crimson  calf  and  entirely  uncut.  This  set,  probably  the 
finest  ever  offered  for  sale,  realised  the  large  sum  of 
.£500.  Two  subscriber's  copies  of  Lord  Lilford's  Coloured 
Figures  of  the  Birds  of  the  British  /stands,  7  vols., 
Svo,  1885-97,  sold  for  ,£49  and  £51  respectively,  the 
former  being  in  half  morocco,  g.e.,  and  the  latter  in  half 
morocco  extra.  A  sum  of  £50  was  obtained  for  Gould's 
Birds  of  Great  Britain,  5  vols.,  folio  1873  (mor.  ex.); 
£20  for  The  Annals  of  Sporting  and  /'amy  Gazette, 
13  vols,  (the  number  for  June,  1828,  missing,  as  is 
generally  the  case),  1S22-2S,  Svo  (hf.  cf.  gt.,  with  all 
faults);  £30  10s.  for  Les  GSuvres  Computes  de  Voltaire, 
70  vols.,  Svo,  1785-9  (contemp.  mor.);  and  £62  10s.  for 
Reichenbach's  Ieones  Flore  Germanioe  et  Helvetie.e, 
vols.  1  to  24  bound  in  19,  1834-1909  (hf.  cf.,  2  vols,  in 
parts  as  issued).  The  catalogue  of  this  Library  con- 
tained 315  lots  and  the  total  sum  realised  was  £1,366, 
this  disclosing  a  very  good  average.  The  miscellaneous 
sale  of  the  27th  July,  also  held  at  Sotheby's,  was  equally 
important,  if  not  more  so.  The  very  rare  first  edition  of 
George  Mereditlis  Poems  (1S51),  with  the  slip  of  errata, 
and  having  inserted  an  autograph  letter  of  the  author, 
sold  for  £21  10s.  (orig.  cl.)  ;  King  Henry  VIII.'s  Primer 
in  Englishe,  printed  by  Grafton  in  1545,  sm.  4to,  £58 
(unbd.,. some  margins  frayed);  Hubbard's  Narrative  of 
the  Troubles  with  the  Indians  in  New  England,  with 
the  original  Boston  map,  1677,  4to,  and  having  also  in 
the  same  volume  The  Happiness  of  a  People  in  the 
Wisdome  of  their  Rulen  Directing,  1676,  £150  (orig. 
cf,  map  slightly  torn);  Audubon's  Birds  of  America, 
4  vols.,  large  folio,  1827-3S,  with  435  fine  coloured  plates, 
£380  (hf.  mor.,  t.e.g.)  ;  the  first  edition  of  Isaac  Watts  's 
Hymns  and  Spiritual  Songs,  1707,  Svo,  £29  (mor.  g.e.), 
and  a  copy  of  the  Genevan  or  "  Breeches  "  version  of  the 
Bible,  printed  by  Barker  in  1599,  4to,  £230.  This  Bible 
is  very  often  met  with,  as  some  60,000  copies  are  said  to 
have  been  printed,  and  ordinarily  it  is  not  worth  more 
than  about  £2.  This  particular  copy,  however,  was  in  a 
remarkable  needlework  binding  of  the  Elizabethan 
period,  wrought  by  Anne  Cornwallis,  in  the  finest 
possible  state  of  preservation.  It  was  the  binding,  and 
not  the  book,  which  realised  the  large  sum  named. 

As  very  often  happens  at  the  close  of  the  season,  such 
a  mass  of  books  was  thrown  on  the  market  that  it  is 
quite  impossible  to  deal  with  even  the  best  in  this 
column.  In  due  course  they  will  all  be  reported  in 
Auction  Sale  Prices,  and  to  that  record  the  reader  is 
referred  for  any  detailed  information  he  may  stand  in 
need  of.  The  result  of  the  season's  book-sales,  viewed 
in  a  broad  and  comprehensive  way,  has  not  been  wholly 


toi  y.  Many  very  important  volumes  have  changed 
hands,  as  is  always  the  case;  but  the  general  tei 
has  been  towards  lower  prices  for  those  of  an  ordinary 
character,  it  being  true  of  this  season  as  of  the  last,  that  a 
d  important  library  might  be  formed  at  much  less 
1  0  t  than  would  have  been  possible  ten  or  a  dozen  years 

ovided  the  collector  is  content  to  leave  what  may. 
without  offence,  be  called  "fashionable  books"  to  those 
who  are  able  and  willing  to  pay  for  them.  Tins  will  be 
made  clear  in  the  next  article,  which  will  give  the  usual 
summary  of  the  season's  activities,  compiled  with  an 
endeavour  to  show  the  reason  why  some  books  com- 
mand prices  which  are  not  infrequently  described  as 
extortionate,  while  others,  often  of  much  greater  utility, 
and  far  more  interesting  from  every  point  of  view  except 
one,  are  comparatively  neglected,  or  in  some  cases  almost 
wholly  ignored.  The  auction  season,  to  be  hereafter 
quoted  as  that  of  1908-9.  opened  on  the  6th  of  October 
last  year,  and  concluded  with  the  last  days  of  July  of 
this.  Its  fortunes  have  been  followed  from  month  to 
month  in  this  column,  and  all  that  now  remains  to  be 
done  is  to  submit  a  general  summary  drawn  up  in  such  a 
way  as  to  give  a  bird's-eye  view  of  the  situation  as  a 
whole. 


ONLY  one  sale  of  engravings  of  importance  was  held 
in  London  during  July,  that  being  the  dispersal  at 
Christie's  on  the  20th,  which  consisted 
Miscellaneous  ^^  entirely  of  engravings  of  the 
Early  English  school.  The  honours  of  the  day  rested 
with  I.  R.  Smith,  two  of  whose  prints,  Delia  in  Town  and 
Delia  in  the  Country,  after  Morland,  both  printed  in 
colours,  realised  £152  5s.;  and  two  others.  Rustic 
Amusement  and  Rustic  Employment,  after  the  same, 
going  for  £105.  There  must  also  be  mentioned  .1  fim 
proof  of  Le  Baiser  Envoye,  by  C.  Turner,  after  Greuze, 
which  made  £115  10s.  ;  and  proof  before  any  letters  oi 
La  Surprise,  by  Dubuffe,  alter  Lawrence,  for  which 
£54   12s.  was  given. 

An  extensive  collection  of  Italian  majolica  was  sold  at 
Christie's  on  the  8th,  a  number  of  notable  prices  being 
obtained.  A  large  oval  Urbino  dish,  25  in.  by  20  in., 
realised  £609  ;  and  two  others  made  £241  10s.  and 
£220  10s.  In  the  same  sale  a  set  of  ten  Chippendale 
chairs,  carved  with  foliage  and  scrolls,  realised  .£924. 

The  sale  at  Christie's  on  the  15th  was  chiefly  notable 
for  a  pair  of  old  Chinese  porcelain  beakers,  enamelled 
with  flowers  in  famille  verte  and  aubergine  on  a  black 
-round,  which  realised  £2,730 ;  and  two  oblong  panels 
1  Is  tapestry,  for  which  £630  was  given. 
At  the  same  rooms  on  the  6th  .1  gold  cross  tor  the 
Peninsular  War  with  six  clasps,  and  a  large  gold  medal 
to  general  officers  lor  the  Peninsular  War,  both  presented 
to   the    late    Ccneral     Lord     Hill,    realised     £399    •""1 

£241     10-..   respectively;   while   at   Cleiidimm       1 ns  on 

1   I  (istinguished  Service  (  Irder  realised  £21. 


The    Connoisseur 


ANSWERS    TO    CORRESPONDENTS 


Special    Notice 

I  NQUIRIES  should  be  made  upon  the  coupon 
which  will  be  found  in  the  advertisement  pages.  While, 
owing  to  our  enormous  correspondence  and  the  fact 
that  every  number  of  The  Connoisseur  Magazine 
is  printed  a  month  in  advance,  it  is  impossible  for  us 
to  guarantee  in  every  case  a  prompt  reply  in  these 
columns,  an  immediate  reply  will  be  sent  by  post  to 
II  i  aders  who  desire  it,  upon  payment  of  a  nominal 
fee.  Expert  opinions  and  valuations  can  be  supplied 
when  objects  are  sent  to  our  offices  for  inspection, 
and,  where  necessary,  arrangements  can  be  made  for 
ii  it  to  examine  single  objects  and  collections 
in  the  country,  and  give  advice,  the  fee  in  all  cases 
to  be  arranged  beforehand.  Objects  sent  to  us  may 
be  insured  whilst  they  are  in  our  possession,  at  a 
moderate  cost.  All  communications  and  goods  should 
be  addressed  to  the  "  Managei  ol  Enquiry  Dept., 
The  Connoisseur  Magazine,  95,  Temple  Chambers, 
Temple  Avenue,  E.I "." 

'Books.  —  "The  Spectator,"   nth  Edit.,  17.?.?. 

At,;i,S  (Auckland,  N ./.).      Thi,  edition  ol  / 

1     than    ios.       11  nd   for  old  biblical 

"In  1'rimum  l.ihrum  Mose  Enarrationes,"  1564. 

\i,i;i    (Si  vanger).— Your  old  commentary  i^  worth  under 

IO-. 

Bunyan's  "  Holy  War."      U, 1 78  (Wellington)       [fyoui 
about  £$  or  £6. 

wanting  the  frontispiece,  was  recently 

1  r  £-■ 
Bible,  1808.     \i.  1   ,    1:     o]     \n  i  1    id)      \ sibli    is 

Hectors'  value. 

"  Books  Of  Music."      '.I-;'   j(Brandon).     These  volumes 
re  woi  lilling ;. 

"The    limes,"    1805.  i  old  copy 

■.-.  irth  onl      ■  i        I 

reprints. 

"The Secrete  Museum  at  Naples." 

N.W.). —  The  :  ioui  £5. 

"Stanlej    Memoirs,"    i-<>-.       Vi,290     Hounslow). 

Coins  and  Medals.     Hank  Dollar  of  1804. 

: 

is  il   worth 
no  value 

I 

George  IV,  Crown,  iNm.       i   p  , 

Engravings.     George  IV.,  in  William  Finden, 
after  Sir    1  homas   1  awrence. 

1  ngravingsbj  linns   Meyer,  ..Her  A.  E.  Chalon. 


Engravings  after  Hogarth.— A996  (Sidcup).—  Your 
two  engravings  after  Hogarth  are  worth,  at  the  outside,  about 
5s.  each. 

BartolOZZi  Prints.—  Al, 094  (Kedcliffe  Square).  —  We  can- 
not quite  identify  your  prints  from  the  description,  especially  as 
\ou  do  not  give  the  name  ol  the  painter.     Theyappear,  however, 
■  .     to  a  class  where  the  value  would  not  exceed  30s.  or  £2 

apiece. 

The  Duke  of  Buccleuch,  by  Thomas  Lupton,  after 
J.  Watson    Gordon. -Ai, 145    (Ilkley). — This  engraving  of 
■  Sue,  euch  sells  lor  about  12s.  6d. 

"The  Politicians"  and  "The  Rent  Day,"  after 
Sir  David  Wilkie.  — .A.1,149  (Nottingham). — These  prints 
were  nevei  published  in  colours.  Fine  proofs  in  black  are 
worth  only  15s.  each,  and  as  yours  have  been  spoilt  by  being 
coloured,  they  are  not  worth  more  than  about  7s.  6d.  each. 


Landscapes  after  George  Smith. 


too    ill 


The  Twin  Sisters,  by  J.  Thomson,  after  J.  Hayter. 

— Ai.,246  (Widnes). — This  is  not  a  print  of  any  great  commercial 


"Setting  out  to  the  Fair  "and  "The  Fairings," 

by  F.  Eginton,  after  F.  Wheatley.— Ai,240(Wakeneld). 

—The  value  of  the  prints  depend-,  upon  their  condition.     II "the) 

I   impressions  in  black,  the  pair  should  be  worth  £-,  or 

£6,  and  if  a  line  pair  in  colours,  perhaps  about  ,£20. 


Furniture.— Method     of    Curing    Worms     in 

Wood.  — Ai, 100  (Bedford  Park).— There  is  no  sure  method  of 
ing  worm  from  wood  furniture.  Many  furniture  shops 
-ell  a  preparation  which  proves  efficacious  in  a  number  of  cases, 
"i  .1  l'".u1  plan  is  to  irv  injecting  oil  or  turpentine.  An  amateur, 
however,  would  be  well  advised  to  send  valuable  pieces  to 
a  skilled  man  rather  than  to  attempt  the  task  alone. 

ObjetS    d'Art. — Napoleon     Relics. —A  1,098 

(Met    n).      [I  1-  nece  sarj  to  prove  satisfactorily  the  authenticity 

.  '     .   \  .  ie  10  have  a  special   value  as  relics  of 

No  ole  m,  nd  this  would  probably  prove  an  easier  matter  in  your 
country  than  here.  In  the  ordinary  way  these  decorations  have 
little  sale  over  here,  and  the  average  market  value,  apart  from 
any  special  historic  interest,  is  about  £1  each. 

Papier-Mache     Snuff-Box. — Ai, 336  (Boscombe).  —  The 

11  yom   snuff-box  is  very  unlikely  to  be  an  original  by 

Mich  siiull-lioxes,  with  copies  of  well-known  pictures 

on    thi     lids,  are   common,  and  worth   about  25s.   to  30s.  each. 

1 ndence  regarding  the  original  picture  of  Tht  Proposal, 

\.\  1..  II.  Harlow,  is  trow  proceeding  in  our  "Note-  and 
1, luetics "  columns. 

Metal  Tea  Caddy.    -Ai,25o  (Plymouth).— The  mark  yon 

-.end  a  Hop  date  ol  your   met.il  tea  caddy.      We 

wi  n     rut  up  foi  inspection. 

"Pottery    and    "Porcelain. —  Black    Jasper 

Ware  Cream   .lug.     At, .502   (Redcar).     This  jug    may   be 

Many     pieces,    made    at    the 

factory  during  the  1  01  )   ars,  have  numbers 

us  patterns.      It  is  impossible  to  form 

ui   ■         ug  1 1  the  ni.uk,  as  then-  are 

tig.       Your  coin  is 
'         in    1 1 1  .    but    unless   it   is   in   very    line 
ilv  a  few  pence. 

Watch.     Brequet,   Paris,   1780.-A1.25s  1 A  cot  1  ."- 

■   1.  .  1  ■    ; . ■.  Mil-.]  b)  collectors 
togt      h,  youi     ipei  irm  n    1     1  robablj 
m  £-i- 


X 


<m-    v 


October,    1909. 


A    Surrey    Manor    House  Part    I. 

Written    and    Illustrated    by    Leonard    Willoughby 


The  history  of  an  old  Tudor  manor  house 
in  Surrey  as  given  to  us  from  the  facile  pen  of  Mr. 
Frederic  Harrison  is  one  of  extraordinary  fascination. 
The  story  he  tells  in  his  Annals  of  an  Old  Manor 
House  loses  nothing  by  his  easy,  graceful,  and  alto- 
gether charming  style  of  writing,  and  certainly  adds  an 


chapter  to  the  history- 


absorbing  and  very  instl 
of  Tudor  times. 

Ingiving'the  barest  outline  of  the  ancient  history 

of  the  manor  of  Sutton  in  early  and  unsettled  days, 
and  of  thus.-  many  notable  personages  who  sub- 
sequently  lived,   moved,  and  had  their  being  in  the 


THE    PANELLED    HALL.    ONC 

Vol.  XXV.— No, 


The    Connoisseur 


manor  house  itself,  long  centuri  :s  agone,  1  must  needs 

dip  for  son).-  guidance  and  information  into  Mr. 
Harrison's  exhaustive  researches  on  the  subject.  In 
doing  no  I  therefore  tender  to  him  my  grateful 
ai  knowledgments,  for  thei  :  is  or  imongst  the 
many  who  from  first  to  last  have  inhabited  Sutton 
Place  that  is  better  informed  of  its  history.  Nor  is 
there  one  who  has  f  ll  a  d  lepei  and  more  abiding 
affection    for   tin-    venerable    old   i  n  epi  i  i  lad   house, 


halfway  between  Guildford  and  Woking,  and  conse- 
quently not  far  from  the  valley  of  the  Thames. 

There  was  no  great  value  attaching  to  it  as  a 
property,  neither  was  it  a  strategic  or  a  vantage- 
ground  in  the  rase  of  strife.  Nevertheless,  it  was  a 
coveted  possession  of  statesmen  and  Crown  favourites 
for  over  four  centuries.  Mr.  Harrison  tells  us  that 
"  it  was  tossed  about  like  a  racquet  ball  from  chief 
to   chief,   as   were   scores   ^>\   estates   in  the  south,  if 


*Y    IS    AT    THE    COMMENCEMENT    OF    THE 


with  its  associations  and  its  peaceful  and  picl 

dings. 
On    a    broad    green    sylvan    bank   overlooking   the 
n  ads  just  north  of  Guildford,  through  which  the 
stands 
the  fan  o  ise,  built    whilst    Henr)    VIII. 

on  which  it   was 
built    Wi  '  ■■ 

Sudtun 

lanor  of 
Woking,  and  I 

I 

1 

I,  within 
which   fra  ncaustic 


they  were  worth  the  having.     It   passes   successively 

to   eight   or   ten   families.      More  than   ten   times   it    is 

forfeited  to  the  Crown.     At  least  ten  tinn  s  the  own.  i 

ol    it,    or    the    immediate    heir    to    it,    is    beheaded, 

attaint  d,  01  killed  in  civil  war.     It   passes  from  king 

to   baron,  and   bai  1.   from   baron  to  king  ;  from   Red 

Rose  to  Whil      Ro     .  from   Vork   to   Lancaster;  and 

during   the  Wars  ol  the   Roses  it   is  not   eas)    to    a) 

i    \  iom   il   bi  longs  in  law.     It  is 

othei  owners.  |>\  the (  onqueroi ; 

by  his  i  Rob  'i    Mal.t  :   l.v   King  St 

by  his  son   William.  Earl  of  Warren;  bj    Henry   II.: 

n;    by    the    Lords    Basset  :    b)     Rogi  t 

I  arl  ol    Norfolk  :   by  Hugh    I  (espencer  ;   by 

l.dw.ed   111.  ;  by  Edmund  ol   Woodstoi  k,  hall  un<  le 

ol  Edward  111.  .  bj   Roger  Mortimer,  Earl  ol   M   n 

by  John,  Earl  ol    Kent  ;  by  Jen.  the   Fair   Maid  ol 


A  Surrey  Manor  House 


Kent,  afterwards  wife  of  the  Black  Prince;  and  by 
Thomas,   Earl   of  Kent,  her  sun.     Thence  it   passed 

by  marriage  to  John,  Earl  of  Somerset,  the  son  of 
John  of  (launt.  At  last,  by  the  death  of  various 
Beauforts,  who  fell  in  battle  or  on  the  scaffold  in 
the  Wars  of  the  Roses,  the  inheritance  ultimately 
passed,  in  E468,  to  Margaret,  Countess  of  Richmond, 
the  mother  of  Henry  VII.  She  included  it  in  her 
marriage    settlement    with     Thomas,    Earl    of    Derby, 


still  the  house  now  standing  had   nothing  to  do   with 
it,    and    was    entirely    identified    with    its    builder.    Sir 

Richard  Weston,  and  his  descendants.     Before  des- 

the  house  as  it  appears  to-day,  loi  it  stands 
with  but  little  alt. 'ration  as  it  was  built  nearly  four 
centuries  ago,  1  must  say  a  word  con.  rning  im 
members  of  this  family,  who  were  notable  men  in 
their  respective  ways.  These  included  Edmund 
Weston,  Esquire   ol   the   King's  Body  (Henry  VII.); 


1TH     ITS    FI 


and  at  her  death  in  1509  she  left  the  manor  to 
Henry  VIII.,  her  grandson.'  Henry  VIII.  and  his 
grandmother  held  the  property  for  thirty-six  years, 
and  in  152 1  the  king  granted  the  estate  to  his 
comrade  and  friend,  Richard  Weston.  From  the  day 
that  Sutton  became  the  property  of  the  Westons  it 
has  ever  remained  in  one  family  or  tin  allied  branch, 
rhough  Henry  VIII.,  Wolsey,  Elizabeth,  Thomas 
Cromwell,  Sir  Thomas  More,  and  other  distinguished 
persons  were  frequently  at  Sutton  Place,  still,  from 
the  moment  Henry  granted  the  estate  to  his  favourite 
knight,  the  manor  cased  to  have  any  connection 
with  the  history  ol'  England,  and  became  merely  a 
private  estate  and  the  house  an  unobserved  country 
mansion. 

Though  the  manor  of  Sutton  was,  as  I  have  pointed 
out,  for  centuries  closely  connected   with   the   Crown, 


IND    TAPESTRIES 

Sir  Richard,  his  son  ;  Sir  Francis,  son  of  Sir  Richard; 
Sir  Henry,  son  of  Sir  Francis  :  and  Sir  Richard,  son 
of  Sir  Henry.  The  former  was  born  in  the  earl}  pari 
of  the  fifteenth  century,  while  the  latter  died  in  1652. 
The  last  male  Weston  who  owned  Sutton  died  in 
1730,  in  George  Il.'s  reign,  his  daughter  being  the 
lasl    survivor  of  the   Mood   of  the   founder. 

The  Westons  were  an  am  ienl  Famil)  ol  knights  and 
squires,  who  were  soldiers  and  crusaders,  tracing  their 
pedigree  back  to  the  time  ol    Henr)   I.     According  to 
the    mil    which    is    now   in    the    British    Mus   inn.   th 
famil)    settled   in   the  county  of  Lincoln   in    Henry's 

reign.      In     [413    John    de     Weston,    then    settled    at 

boston,    Lincolnshire,    received   four  yard 

cloth  tit  the-  coronation  of  Henry  V.  His  son  Peter, 
also  oi  boston,  111  the  reign  ol  Edward  1\  .  had  three 
sons— Edmund,  fohn.  and  William.     Of  these   r0hn 


..0 


The    Connoisseur 


was  Lord  Prior  of  the  Knights  ol  St.  John  in  England  ; 
William  a  Knight  of  St.  John  at  Rhodes;  while 
Edmund,  the  eldest,  was  the  fathei  oi  Sir  Richard 
Weston,  of  Sutton.  The  head  oi  the  English  branch 
of  the  Order  ol  St.  John — the  Lord  Trior— had  his 
headquarters  at   the  house   in   Clerkenwell   until   the 

t  h  e    Ri  fo 
tion     in     fS4o. 
LordPrior 
look     rank    as 
first  of  the  lay 

in  the 
r  o  1 1  o  1 
immediately 
after  the  vis- 
i  ounts.  The 
Knights  Hospi- 
tallers of  the 
<  Irdi  r  of  St. 
fohn  oi  Jeru- 
i :  i  was 
found e d  i n 
,  i  [8  for  the 
purpose  of 
maintaining  the 

ii      ui 

ii  il  .1  in 

the 

links.      They 

1  i  s  h 

i  i 

1   ;  I   I  ,    ,:: 

the  loss  ol  that 

the) 

ttled  b) 

the    Emperoi 

V.  at 
Malta. 

by    a    Grand 

H        ''    '        l!     GR1  "   ' 

■  Of  this 

I        tnd,  ol   which  Sir 
William   W'.st. m    was    the    last     Lord     Prior,    the    old 
down  by  illness,  dying  the  v<  i 

ii.,.         .      ;    . 
I 

of  ^i.ooo    i  bui  I    \\ 

ol  it,  tor  it  so  fortuned  that  upon 

i  'ti    I  lay  and  1 1 

dissolved 


by  death,  which  strooke  him  to  the  heart  at  the  first 
time  when  he  heard  of  the  dissolution  of  the  Order." 
Fuller,  in  his  Memoirs,  adds  :  "  His  hospital  and 
earthly  tabernacle  were  buried  together,  and  gold, 
though  a  great  cordial,  could  not  cure  a  broken 
heart.'  boston  at  this  period  was  a  large  port,  and 
carried  on  a 
considerable 
trad--  with  the 
Levant. 

Amongst  the 
Admirals  of  the 
Fleet  of  the 
K n igh ts  of 
Rhodes  were 
S  i  r  J  o  h  n 
Weston  (1474). 
and  Sir  William 
Weston  (1520). 
These  Westons, 
the  t  h  r  e  e 
knights  of  St. 
J  0 h  n ,  the 
brother    and 


llellt 

parts     in 

he    . 

r  u  s  a  d  e  s 

tgainst     the 

Turk 

.             It      IS 

tlso 

probable 

that  tl 

'/Weston 

laniiU 

matei  i- 

illy 

h  e  1  p  e  d 

Hem- 

■     Tudor 

in  the  sui  cess- 

fu  1 

\  e  n  1 11  re 

which 

ended  in 

the    1 

lacing   of 

It  is  pretty  evident  that  the  services  rendered  by  the 
family  to  the  Tudors  placed  thee,  m  high  favour, 
and,  in   1  on  ■<  qui  w  e,    important    appointments   were 

I  upon    them.       Edmund  Weston   was    ap- 
pointed (apt. mi.  Keeper,  and  Govemoi  oi  the  Island 

II  e\    within  a   month  ol    the  battle  oi    Bos- 

niii'li   subsei  |uenl  \    bei  ante    almosl 

in  th     Family.     W.  Berry  in  Ins  History  0) 

'     c      "  l  he  oil, 1  ,•  ol  governor  of  the  island 

lity,  A\\t\  in  the  fourteenth  and 

'    be  n    often    held    bv    royal 


A  Surrey  Manor  House 

princes.      The   Westerns   held    the    post    continually  State  ceremony,  and   for  thirty-three   years,  from  the 

from  1488  to  iS4..       Sir  Richard  Weston,   who  was  firsl  j  ai  o!   hi<  ^   n  igr,     n  ign   unl 

the  most    .mportant  and  prominent  member  of  tin,  1,,  served  his  maste.   faithfully,  neve,   losing 

ever   loyal    family,    was   an    extraordinary   man-one  office,  and  retaining  all  through  his  entir,    confidence 

who  was    not    only  a    soldier,    but    also   .,    diploma,  Never  was  master  more  truly  served,  and  this  Henrv 


IN     STAIRCASE     HALL 


and  statesman— a  rare  combination.  Were  this  all  it 
would  haw  been  enough;  but  he  was  more,  foi  he 
was  also  a  seaman,  ambassador,  governor,  treasurer, 
privy  councillor,  ami  judge  of  the  Court  ol  Wards. 
lb-  amassed  much  wraith,  and  was  a  great  patron  ol 
art.  It  was  due  in  a  great  measure  to  tins  famous 
in  ins  ability  and  services  thai  Henry  \  II.  and 
Henrj  VIII.  built  up  the  strength  ol  thi  \ 
monarch'.-  in  the  sixteenth  century.  State  papers  of 
that   period   show   that   he  look   part   in  almost    every 


ai  knowledged  by  the  unbroken  loyalty  he  evinced  in 
return.  Mr.  Harrison  adds:  '-II'  rose  into  royal 
favour  under  Archbishop  Warham  lone  befoi  :  \\  ols  . 
he  retain  d  il  under  Wolsey,  and  after  VVolsey's  fall, 
aftei  thai  ol  More,  and  after  thai  ol  I 
well.     He  served  th  m  all,  and  o 

I'll'    appointments  and    promotion     1 1 
showered   upon   him,  sui  ha     II  VI] 

\\ 
to  detail  in  full.      \  however,   was  his 


The   Connoisseur 


I  M 


fHE    oUADRAh 


itment  I  -ieut  i\A\n  of  the  <  !astle  and  Forest 
of  Windsor.  He  married  Anne  Sands,  or  Sandys, 
ol  Shere,  his  wife  becoming  gentlewoman  of  the 
qu  n  in  [509,  as  she  was  to  Queen  Elizabeth  of 
York,  who  died  in  1503.  By  his  marriage  he  had 
an  ill-fated  son,  Francis,  born  in  1511,  who  was 
named  after  Francis   I.  ol   Fram  e. 

1         .11  Weston  was  sent  with  a  force  under 
Lord    Darcy    to   assist    Ferdinand    ol    Spain    in    the 
campaigns    against    the         ^^^^^^^^^^^^^™ 
Moors.  This  expedition 
rani.-  tu   nothing.      In 
1 5 1  t    II  enry  knighted 
and  from  that 
tint    onhi   fortunes  were 
unbi  iunded.     In    1  5  1  6 
tCnighl  ol 
1  li  11  [) ,  whii  1)  brought 

I 
iter  an   embassy 
1  Fram 
to  obtain  ratifii 

riage   ol 

\ith  the 

Ml!  1 

This  pi 1   Wol 


after  died,  and  Mary  eventually  married  Philip  II.  of 
Spain.     Sir  Richard  remained  in  France  five  months, 
and  during  this  time  had  ample  opportunity  of  seeing 
the    French    chateau    which  had   been   recently   built. 
It  is  probable  that,  being  a  man  of  great  taste  and  a 
lover  of  art,  he  determined  to  build  himself  a  house, 
on    his  return,   which    should   resemble   the  1  hat.  au 
he  had  seen  on  the  Loire.      In   1520  Sir  Richard  was 
pres  hi  at   the  Field  ol  the  Cloth  of  Gold  as  one  of 
1I1  ■   kni-hts   s,-l  ■,  ted  I'm 
Hampshire.     A   few 
"^sv"^/<~*  months  later  he  was  one 

ut  the  witnesses  to  the 
alliam  ■  ol  Henry  with 
the  Emperor  Charles  V. 
In  1523  Sir  Richard 
raised  a  contingent  to 
servi  under  the  Duke 
ol  Suffolk  in  the  use- 
less war  against  France, 
which,  owing  to  the 
jealousies  ol  the  allied 
princes  and  the  mis- 
management of  Bran- 
don, was  a  I'n  in  plete 
failure.  In  1525  he  ob 
tained,  through  VVolsey, 
i;i  niii.  e  ol  the  1  >uch) 
ol  I  am  aster,  and  in  the 
.11  wasappointed 
I  1  asurei  to  th  town 
and  marshes  of  Calais. 
Here  he  resided  a  good 
deal.  In  1527  he  was 
appointed  Grand  Mastei 


A  Surrey  Manor  He 


llttiii 


mJ&BH&*ti3R&£&,iA,Wi&i\  fih 


TERRA-COTTA 


Lord  Prior  of  England,  which  gave  him  rank  as 
one  of  the  great  officers  of  State.  Three  wars 
later  he  was  made  Under-Treasurer  of  England, 
which  office  he  held  for  twelve  years,  surrendering 
it  only  in  his  last  illness,  when  about  seventy-five 
ye  irs  of  age. 

In  1523  Anne  Boleyn  was  crowned,  the  coronation 


being  received  very  coldly  by  the  majority  of  English 
people.  Both  Weston  and  his  son  Francis,  however, 
showed  their  loyalty  to  her,  and  within  two  months 
of'the  coronation  Henry  paid  a  Suite  visit  to  Sutton 
Place. 

About    this   tune    Henry    was   restless    and    anxious, 
queen   was  expecting   her  confinement,  and 


PORTRAIT    IN    STAINED    GLASS    OF    CHARLES    II.,     l66o, 

li; 

Hi 

□      THE    STAFFORD 

FRAGMENTS    OF    ROYAL    ARMS    AND    THE    GARTER 

KNOT,     AND    A    PORTION 

, ARTER 

JEEN    ELIZABETH,  AFTER 


t   :     both  desperately  anxious  that  .1  son  should 
1      tried    his    best    to    hide    his   anxi  :tj 

1 hi     vil  .  and   Ins   "  pastimes  in  huntying  redd 

were  his  chiel   amusement.     It   is  even  prob- 
unting  was  an  excuse  to 


1.  el    his   .  ouncil 
Sutton  was  the 
ol  coun- 
1  il  nv  etings,  at 
plans 
n    1      disi 
for  th 
crisis    in   liis 

turned    to 


I 

I 
I 


and 


that 


Anne's  fate  1 
Sir  Richard' 
note  that,  despit 


onl 


part  played  in  this  tragedy  by 
son.  It  is  quite  remarkable  to 
e  fact  that  Henry  had  but  just 
>n  oi  Sir  Francis  Weston,  Sir 
still  the  owner  ol  Sutton  Plai  e 
sovereign.  Bearing  his  terrible 
bereave  m  ent 
bravely,  he  re- 
tained Henry's 
favour,  subse- 
quently atl   nd 


1111; 


•f  Jan. 


Edw 
and 

he 

VI., 

Slat,- 

rece 

It  1 



Henr 

A. 

fourth 

Cleve 

.  1 

1  1  540 

Sir    Rii 

hard. 

who 

vas 

then 

over 

se 

ent) 

.1  : 

0 

and  h 

id 

served 

11   en 

r  y 

lor 

A  Surrey  Manor  House 


was  sent  to  meet  Anne 
of  Cleves  on  her  land- 
ing in  England  prior 
to  her  marriage,  which 
turned  out  so  d i s- 
astrously,  and  which 
lost  the  instigator  of 
it.  Thoaias  Cromwell, 
Earl  of  Essex,  his  head. 
But  neither  Cromwell's 
nor  Wolsey's  downfall 
affected  Sir  Richard's 
position,  and  he  was 
appointed  Master  of  the 
New  Court  of  Wards, 
which  office  he  held  till 
his  death,  t  wo  yea  is 
after.  He  was  buried 
in  the  parish  church  oi 
the  Trinity  in  ( iuild- 
ford,  but  unhappily  all 
trai  :s  oi  his  tomb  have 
disappeared.  He  was 
succeeded  by  his  grand- 
son, Ihe  only  son  of  Sir 
Francis,  whom  Henry 
executed.  Mr.  Harri- 
son's description  of  Sir 
Richard  is  that  "  he  was 
one  of  those  skilful,  wary, 

and  trusty  servants  of  the  Tudors  by  whose  elicit  and 
craft  they  established  a  strong  personal  government  in 
England.  .  .  .  His  only  son  and  heir,  a  personal 
playmate  and  minion  of  the  king,  had  been  married 
to  a  rich  heiress  by  the  king's  favour  in  1530,  and 
in  1532  he  was  mad..-  a  Knight  of  the  Hath  at  the 
coronation  of  Anne  Boleyn.  Four  years  afterwards  that 
son  was  exe- 
cuted t>n  Tower 
Hill  as  one 
of  the  reputed 
lovers  of  the 
queen.    Vet  the 


fatht 


her 


remained  at 
Sutton  to  1  njo) 
and  ai  1  ept  the 
favour  of  the 
king. 

To  be  a 
trusted  minister 
and  servant  of 
Henry  VIII.  for 


thirty-three  years  shows 
that  this  man  must 
have  been  possessed  of 
marvellous  tact,  for  no 
other  servant  of  Henry 
Tudor  had  a  similar 
record.  He  was  in 
office  under  Wolsey  and 
Cromwell,  during  the 
Reformation,  and  the 
Six  Acts,  as  well  as  the 
Pilgrimage  of  Grace 
and  Henry's  first  live 
marriages,  during  which 
time  he  was  steadfast  in 
his  loyalty.  "And  what 
a  wreck  and  ruin  alter 
all,"  adds  Mr.  Harrison, 
"  was  the  old  man's  life  ! 
With  what  bitterness 
and  hopelessness  of 
heart  in  his  last  years 
must  he  have  looked 
across  the  links  of  the 
VVey  and  beheld  the 
fresh  beauty  of  his  newly 
risen  house.  There  is 
a  certain  accord  be- 
tween the  fortunes  of 
the  knight  and  the 
and  the  house  which  the 
minister  built  him  on  the  ancestral  manor  of  the 
king  has  shared  in  the  blight  which  crushed  the 
lives  of  both.  It  is  still  overshadowed  by  the  catas- 
trophe which  snatched  from  the  one  his  wife  and 
from  the  other  his  son.  Bright  and  promising  was 
the  fortune  of  Henry  and  the  fortune  of  Sir  Richard 
'when  these 
walls  first  rose 
in  the  freshness 
of  their  fanci- 
ful grace.  But 
I  be  only  son 
who  bad  played 
within  them  as 
a    boy    never 

lived  10  inhabil 
ili--  hou 
1m, 1  watched 
in  the  building. 
He  who  gave 
the  estate  in 
nty,  1  hi 

Oil       111:  i. 


fortunes   of   the 


The   Connoisseur 


rAiNi     Glass 
with  monogram    III       a     ■'  ■ 


to  it  in  blood  and  shame. 
He  who  obtained  the  estate 
by  the  king's  favour,  lost 
the  son  who  should  have 
inherited     it     by    the    king's 

fury.    Ami  ;  i  1 1  ■  m n     o 

inked  seem  still  to 

have  lived  on  in  relations  of 

course,    nay,   almost    of 

ties  had  come  to  them  by 
some  inscrutable  di  tiny,  a 
if  the  lather  could  as  little 
blame  the  king  as  the  king 
could   blame   the   father.'' 

Almost  immediately  after 
Sir  Richard  received  from 
Henry  the  grant  of  the 
manor  of  Sutton  in  1521, 
work  to  build  the 
house  which  now  stands.  It 
is  not  known  whether  the 
desigm  r  or  architect  was 
English  or  Italian.  But 
1  he  was,  he  was  a 
man  of  wonderful  taste.     Contemporary  with  Sutton 

tre  such  famous  buildings  as  Hampton  Court 
Grimsthorpe  <  astle,  Lin- 
colnshire, the  home  of 
the  Willoughbys  ;  II  n 
grave  1 1. ill,  built  by  Sir 
Kitson,  and  sn 
long  inhabit  ed  by  the 
mily  ;  Christ 
Church,  Oxford  ;  and 
Trinity    I  1 

I 'lace   is 
notable    as     1, 

Ountry  house  in 
England  built  -  ni 

fortified  build 
were  in- 

11     behind 

nd    I  ranee   in 

ing    the    style    ol 


Castle  .  roivrtt, 

two  1 

zvith  buckle,  and  the  f'unnine   iel-us 
a   tun.  Jo   LcNoi. 

eighty-one  feel  eai  h  waj 
building  was  an 


1 


purely  domestic  buildings 
in  place  of  the  fort  ifi  ed 
castle. 

There  was  no  suggestion 
of  even  the  smallest  attempt 
at  defence  in  the  house  he 
erected,  it  being  simply  a 
building  of  brick  and  terra- 
cotta,  symmetrical,  light,  and 
airy,  with  great  windows, 
tall  clusters  of  chimneys,  and 
spacious  apartments. 

The  house  was  built  on 
the  manor,  about  half  a 
mile  eastward  of  the  old 
hunting  lodge,  where  the 
chapel  now  stands.  In 
shape  it  consisted  of  a  main 
building  facing  north  and 
south,  with  two  long  wings 
projecting  to  the  north  from 
either  end,  these  again  being 
connected  by  a  gatehouse. 
Thus  a  complete  quadrangle 
was   formed,   measuring 

On  the  western  side  of  the 

uadrangle,  of  about  fifty  feet  by 
forty  feet,  while  the  stab- 
mg  and  offices  were  be- 
yond. As  I  mention,  d, 
the  entire  house  was  built 
of  red  brick,  the  mould- 
ings, window  dressings, 
mullions,  architraves,  and 
ornamentations  being  of 
terra-cotta.  Th  is  was 
pi  1 1 1.1 1  is  the  first  time 
l  11.1  1  oit.i  was  introduced 
into  -in  English  do  uestic 
building.  No  stone  was 
used,  with  the  exception 
ol  the  Mocks  on  which 
massive  doors  of  the 
gatehouse  hung.  To-day 
the  old  brickwork  is  a  joy 
having 
gi\  en  ii  .1  deli  [htful 
mellowed  torn  .  while  the 
wonderful   old    I 

is    in    as     line    a    state    ol 

iervation    as    on    the 
11    was    pul    in     [9 
years  ago,  the  mouldings 
retaining  their  sharpness. 


The   Connoisseur 


as  the  illustrations  will  show.  With  the  exception  of 
the  gatehouse,  which  has  unhappily  disappeared  owing 
to  a  serious  fire,  tl  rnally,  is  as  Sir  Richard 

used  it,  and  so  we  are  enabled  to  g  t  an  xai  I 
impression  ol  the  first  purely  domestic  country  house, 
just  afi  !  the  war  ol  the  baron  i  <  ased.  1  louses  in 
ii  to  afford  accommodation, 
not  only  for  the  family  themselves,  but  also  for 
numerous  retainers  and  servants.  Hence  it  was  that 
on  -  usuallj  found  in  earl)  houses  the  large  hall,  where 
all  dined  together,  with  the  raised  part  or  dais  al  one 

th  i  lord  and  his  family,  and  at   th<    opposite 
ry,    butler's  pantry,   offices,  and  cellars. 

,-as  a  gallery  or  solar  room  upstairs,  used  1>\- 
the  master  ol  the  house,  and  generally  a  window  or 
opening  from  which  he  could  look  down  on  those 
below  befoi  and  aftei  I  :asting.  At  Sutton  Place 
the  gallerj  is  a  very  fine  specimen.     The  minstrels' 

was  .'l   the  opposite  end  of  the  hall.     In  a  later 
i  -,ill  describe  th  :  hou  -    full)  .1-  il   now   <-.  and 

give  illustrations  ol  s 1   ol   the  interesting  contents, 

which    have    been    col- 
car    and  ex    :11  m  good 

houses  in  Eng- 
land to  co  npare  with 
Sutton  Plai  .  either  in 
charm  of  design  01  set  - 
tin-  ;  while  til"  fact  that 
it  was  built  ami  lived  in 
b  h   an    interesting 

man    as    Sir    Richard 
it    just 

tOUl  '11    ol 

ipestries 

which  hang   in  the  din- 

and    drawing 

i     hall. 

II    ri 

d  Sutton 

PI    1 

I 


1588),  Herselin  (1530),  Jean  Raes,  \V.  Pannemaker 
(1548),  and  Bernard  van  Orley,  the  designer  of  the 
Hampton  Court  tapestries.  These  tapestries  hear  the 
Brussels  marks — a  castle  or  and  shield  gules.  There 
are  a  great  number  of  these  in  the  house,  all  in 
excellent  condition  and  hung  to  great  advantage, 
the  subjects  varying,  some  being  scriptural,  others 
allegorical.  The  Brussels  pieces  have  the  borders  of 
vines  and  pomegranates,  which  are  characteristic,  while- 
one  or  two  are  purely  landscape  subjects.  There  are 
.  ;.il  pieces  ol  old  Jacobean  needlework  and 
stump-work  in  the  gallery,  and  one  in  particular, 
1  piece  ol  Elizabethan  needlework  relating  to  the 
Galmer  family  and  the  Earls  of  Winchelsea,  is  of 
especial  interest. 

The  old  painted  glass  which  adorns  the  great 
hall  is  just  as  it  was  put  in  centuries  ago.  The 
wonderful  colouring  in  the  heraldic  devices  on  the 
glass  is  worthy  of  stud\',  and  it  is  remarkable  to  find 
that  they  have  been  so  well  preserved.  It  must  be 
remembered  that  glass-painting  reached  its  perfection 
between  1530  and  1550. 
and  had  even  begun  to 
decline  in  1545.  Not 
only  do  these  arms  refer 
to  the  Westons,  but  also 
to  those  connected  b) 
alliance  with  the  family, 
and  those,  including 
kings,  queen  s,  and 
princes,  who  visited 
Sutton,  or  owned  the 
manor.  There  are  also 
the  emblems  of  both 
Roses,  white  and  red. 
the  badge  of  the  Union 
ol    the    rival    houses  of 

York  and  Lancaster. 
No  fss  than  fourteen 
windows  with  ninety-two 
separate  lights  in  the 
hall  at  Sutton   Place  are 

filled    with    shields,    with 

1   01    set  oi  de- 

\  ices  iii  eai  h.  ( >f  vary- 
ing 1  [uality,  and  belong- 
ing     tO      I  111  ee     difl     I     Hi 

th  5  .11  ■  oi  rare 
I.e. ens  and  workman- 
ihip,  and  are  certainly 
amongst  the  most  in 
tcresting  oi  tie^  varied 
features    ^1    Sutton 


Potteryand 
Porcelai 


The  Evolution  of  Black  Basaltes  Ware 


By   E.  N.  Scott 


Black  basaltes  ware,  which  has  its  lowly 
origin  in  the  rude  products  of  the  seventeenth  century 
peasant  potters,  and  its  exalted  culmination  in  the 
monumental  works  of  Wedgwood,  is  worth)'  to  rank 
side  by  side  with  that  most  original  of  the  great 
potter's  productions — jasper.  True,  its  appeal  is  more 
limited,  but  in  the  same  sense  as  the  appeal  of  sculpture 
is  more  limited  than  that  of  painting.  Basaltes  invites 
appreciation  solely  through  its  beauty  of  form  and  the 
variety  of  tone  produced  by  the  play  of  light  on  its 
surface,  just  as  does  a  piece  of  sculptured  marble. 
Jasper  claims  attention  through  its  charm  of  colour  as 
much  as  through  its  beauty  of  form  and  design,  just 
as  does  an  example  of  painting.  The  truth  is,  the 
sense  of  form  comes  of  a  deeper  understanding  of 
KStheticism  than  does  the  sense  of  colour,  for  the 
latter  is  the  more  easily  impressionable.  Sculpture  is 
no  lower  in  the  scale  of  line  arts  than  painting,  and  so 
basaltes  is  no 
lower     in    the 

scale  ol  applied 

arts  than  jasper. 

Basaltes     is 

the   indigenous 

product  of  Staf- 
fordshire, for  it 

was   doubtless 

with    the    pea- 
sant  potters  ol 

that    county   in 

the  seventeenth 

century   that    it 

had    its   origin. 

The    somewhat 

vague  evidence 

nl     historians, 

combined   with  -- 

the    more    cer- 
tain   evidence 

ot    remaining 

pieces,   proves  modelled 


that  they  sprinkled  their  red  ware  with  a  mixture  of 
powdered  manganese  and  lead-ore,  and  so  produi  ed  a 
glazed  pottery,  which  was,  at  any  rate,  superficially 
black — or  nearly  so.  This  black  glazed  ware,  of  which 
we  give  two  photographs,  uf  course  differed  from 
basaltes,  which  is  ungla/ed  and  black  throughout. 
The  further  step  in  the  evolution  of  basaltes  was 
probably  taken  by  the  Elers  during  their  stay  in 
Staffordshire  from  about  1690  to  1 7 10,  by  mixing 
the  manganese  with  the  clay  they  were  using  foi 
their  red  terra-ootta,  and  so  producing  an  unglazed 
stoneware  which  was  black  throughout.  There  is  no 
reason  to  doubt  that  this  was  so,  although  no  pieces 
are  in  existence  which  can  be  attributed  to  them,  but 
it  needs  no  great  presumption  to  conclude-  that  putters 
so.  resourceful  as  the  Elers  availed  themselves  ol  the 
suggestion  offered  by  the  methods  of  the  peasant 
potters,  and  added  to  the  manufacture  of  their  more 
famous  red  pot- 
tery—  the  pro- 
duction of  black 


lilt  le    ti.'.lpi  ii  ->    III 

1I1  Hanlej 
Museum,  which 
belong  in  the 
rtofthe 
eighteenth  cen 

turv  and  which 
illus- 
trated. They 
.,.  le  I  .vyford, 
who,  together 
with  \.:liue,. 
I,  arned   the 


The    Cannoisseur 


I.I  rs  b)    feigning   idiocy.     There  is  no  evid 
suggest  thai  Twyford  showed  am,  signal  originality  in 
i    i  imic  productions,  and  the  proof  of  his  having 
blai  i.  ah      mpports  the  theory  that  the  Elers 
-I    ii.    and    ih.it    he   1  :amed    from    them    the 
u ned   the 
of  th    red  wai   ,      fhese  pieces,  however,  differ 
very  considerably  in  design  from 
th"    u,n      usuallj    .hi i ibuti  'I    tn 
the    I  >utchmi  n,  and  show  a  free 
nl    ot     naturalistic    orna- 
ment in  contradistinction  to  the 
i     trained    u       ol     conventii  mal 
motivi  ■ 

Vet    th  imbued  with  a 

nlike  appreciation  ol  the 

plastic  nature  ol  the  mat  i  ial,  one 

ted    with 

ng  with  the  unglazed  black 

handle—  sh 

and  appi  dling.      Bui  there  is  no 

'  asontoi   [  .mi  them  a    ol  particularly  original 

i  i    turalistii 

rth  nw.n. 
I      .  ■ 

made   this 
black  wai  I       ptian  blai  k,"  .Kami  to  tl 

ol   w    dgwood,  who,    oin         at    i ;  66,  broughl 

it  to  its  c  pet  :i.  under 

I 

colour, 

polish  which,   urn 

light,  g 

tone  to  its  surfai 


» 


I.I    i.CK    GLAZED     WARE  I/TH    CENTURY 

charm  is  well  exemplified  in  the  fine  sphinx  i  mi  - 
pi  i  ■  ol  Wedgwood  &  Bentley's  manufacture,  here 
illustrated.  Basaltes  possesses  some  of  the  character- 
istics of  natural  basalt,  ami  it  possesses,  too,  something 
of  the  appearance  (>f  bronze,  but  its  truest  artistic 
qualities  are  related  to  neither:  they  are  essentially 
Wedgwood  recognised  its  resemblance  to 
natural  basalt,  as  is  i  \  ident  by  the 
name  he  applied,  and  it  was  verj 
likely  the  work  of  the  Egyptian 
sculptors  m  this  material  that 
suggested  the  Egyptian  as  the  first 
of  the  classii    stj  les  hi   ai  li  ipti  d 

Wedgwood,     tOO,     perceived     the 
suggestion  of  bronze,  ami  when — 
probably  inspired  by  the  classic 
productions    in   this   metal  —  he 
desired    to    imitate    bronze   in 
ce       by  twyford       P°"ery,  he  carried  this  suggestion 
too  far  by  applying  to  the  wai    his 
tustic."     Examples  of  this  an  . 
however,  rare,  but  in  the  Wedgwood  Memorial  Insti- 
tute at  Burslem  there  is  a  candelabrum,  which  has  been 

'  I)    iiianipiil an  id  that  one  at  first  needs    i  ■ 
-  on\  an  ing  that  it  is  basaltes  at  all.      But  Wedgwood 
man   to  try  to  perpetuate  this 
method     skilful    but    inartistii  — ol    imitating    in    one 


material    what 
another.     And 


lie 


" 


ch  better  produced  in 
e  see  he  turned  his  attention  to 

ution  ol  works  which 
w   re  not  onlj  beautiful  in  design, 

Inn    w  Inch  also  complied  with 
ni  '  .  ramii   i  [ualities  of 
1  i   '  limn. 
Reverting  to  the  origin  of  this 
hould  b.   observed  how- 
all   along  the  line  the  production 

ol    blai  k    potterj    is  as  ;oi  ial  d 

with  red.  and  this  is  one. 


The  Evolution  of  Black  Basaltes  If  'are 


seeing  how  the  fabrication  of  the  one  so  easily  .1 
out   of  the  other.     Wedgwood  for  a  time  made 

two  side  by  side,  as  is  evident  from  the  similaril 
methods  of  execution  and  enrich- 
ment— particularly  the  application  ol 
engine  turning  to  both — and  also 
from  the  fact  that  in  many  pieces  the 
two  bodies  are  seen  in  combination. 
With  regard  to  the  latter  point,  most 
representative  collections  of  Wedg- 
wood wares  contain  pieces  of  red 
pottery  decorated  with  black  applied 
ornament,  and  also  examples  of 
basaltes  enriched  with  red  applied 
ornament.  The  latter,  which  include 
useful  and  ornamental  examples  and 
also  medallions,  are  pleasing  in  effi  ct, 
the  limited  application  of  the  red 
suggesting  a  sense  of  refined  con- 
tract. Nevertheless,  they  pale  into 
artistic  insignificance  he-side  the  noble- 
simplicity  of  the  fine  specimens  which 
are  unallied  with  any  other  body,  and 
which  depend  solely  for  their  effect 
upon  modelling — produced  by  vari- 
ous means — and  upon  the  natural 
qualities  of  the  material. 

Yet  again,  the  red  and  black  wares 
are  associated  in  Wedgwood's  productions,  for  when,  of  th 
influenced  as  he  was  by  Bentley's  classic  taste-  and  sever 
th--  acquisition  of  examples  of  classic  art,  he  essayed  to  fitnes 
reproduce  t  he- 
painted  ( rreek 
and  Etruscan 
vases,  he  once 
more  utilise.! 
ill-  I  wo  wares. 
Upon  the  red 
he  painted  his 
"shining  black" 
to  for  m  t  h  e 
ground,  leaving 
the  red  of  the 
body  to  i-i\]])- 
pose  the  orna- 
111  en  t  ;  a  n  d 
upon  the  black 
he  painted  the 
ornament  with 
Ins  ■■  encaustic 

enamels."'     He, 
h  o  w  e  v  e  r  , 

Utilised      the  LEOPARD    TRIPOD 

WEDGWOOD    AND    BE 

first    process,  12  inches 


which  was,  of  course,  th,-  method  generall)  adopt,.-, 1  by 
the  ancients,  to  a  very  limited  extent.  The  majority 
oi  these  ■  in-  d  bj    means  oi   thi   9  cond 

proi  ess,  because  ol  its  gri  atei  facilil  j 
of  execution,  and  because  of  the 
smaller  demand  it  made  upon  the 
skill  ol  his  painters.  Ol  th 
frankly  imitative  of  the  ( irei  k  and 
Etruscan  productions,  it  is  onl) 
necessary  to  say  a  mud.  Scientificallj 
the)  were  excellent,  but  artistically 
their  execution   was   so    lacking   the 

facile,  spontaneous,  and  decisive 
touch  of  the  ancients,  that  Wedg- 
wood probably  realised  them  to  be 
neithei  worth)  of  his  medium  nor  of 
his  -  raftsmanship.  At  fast,  his  later 
productions  justify  this  assumption. 

Basaltes,    unallied    with    any    Other 
hod\  and  disassociated  from  enamels 
-  -in  fai  1,  true-  basaltes — now  claims 
attention.      As    was     the    case     with 
each  class  of  his  productions,  he  first 
employed  it,  probably  from  1766,  in 
the  fabrication  of  articles   of  utility, 
such    as    tea    and    coffee    ware,    salt- 
1  -  liars,  candlesticks,  flowei  pots,  and 
inkstands.    In  the  production  of  most 
se  articles  he  evinced  a  simplicit)  of  form  and 
v  of  enrichment  that  give  a  sense  ol   ah- -Un- 
to the  material,  to  the  methods  of  fabrication, 
and  to  the  pur- 

pose   of   their 


\SE,     LEOPARD- 
WEDGWOOD 


1  eii  and  tea 
pots  and  other 
.  like  articles  ol 
usefulness  in 
most  collec- 
tions, which, 
for  beauty  of 
and  ap- 
propriates ss 

of   em  ii 

are  worth)  to 
take  a  place 
with  the  more 
ambitious  de- 
corative piei  - 
Then  qualiti  :s 
arise  in  a  large 
til  .1  .111  ■  from 
1  h  I- 1 1   method 


The    Connoisseur 


(EDGWOOD 


of  manufacture,  throw- 
ing on  the  wheel  and 
turning  on  the  lathe. 
\\  dgwood  'I'  i 
the  possibilities  ol  th 
lathe,  first  used  in  Staf- 

by  tl        I 
to    the    utmost 
i  -I     11  ■    capacities,    and 
found   in    it    artistic 
propert  i  es  thai    were 
quite    unthought    of 
I  he   objeel  ion    maj    b 
raised    that    if 
of  engine-turning  is  too 
ii  il  to  beartistic, 
but    in    i I        ca 

:•  :  fine  texture 
and  hard  nature  have  to 
bo  taken  into  account, 
and  then  the  appropri- 
ateness "I  lathe-work  in 
relation  to  this  ware  will 
b  realised  A  study 
ol  en.  1 1|  these  i  offee 
oi  ti  '  pots,  01  such  like 

ol  utility,  dei  orat.  d  with  flutings  incised  as 
the  piece  was  being  finished  on  the  lathe,  will  serve 
to  show  tin  fitness  ol  this  method  ol  decoration. 
1 1  simplicity  and  geometrii  al  ai  i  him  5  seem 
--..1.  if.  wha  ..'  :  .  Me  -I  for 
if.    enrichment    ..i      in 

....         m   in. ii:. hi,    .1 
....ii     1      ii.     had    ma  tered    tb 
technique  of  his  craft,  wa     0 
oduction  ol    d     0 

■ 

1 
. 

artistie  p 

timing    that    the 

almost  (  e 

is,   from 
whii  h  th.'  handli  s  sprang  in  th.' 


were  thrown  on  the 
wheel  and  finished  on 
the  lathe,  but  without 
fluting.  The  next  step 
was  the  application  of 
oval  medallions  of  figures 
to  these  same  vase  S.  As 
a  matter  of  fact,  the  first 
basaltes  shape  recorded 
by  Wedgwood  in  his 
original  shape  -  book — 
now  preserved  at  Etruria 
— is  one  of  these  medal- 
lion-decorated vases,  but 
it  is  only  reasonable  to 
assume  that  thus.'  with- 
out the  medallions  were 
first  produced.  In  the 
course  of  development 
these  same  vases  were 
varied  by  the  addition, 
in  place  of  th-  medal- 
lions, of  festoons  of  vine 
or  flowers. 
re    piece  Seeing  how  success- 

,5   inches  fuUy    Wedgwood   had 

utilised  the  tinting  produced  by  the  lathe  in  the  enrich- 
ment of  his  useful  articles,  it  is  not  surprising  that  he- 
soon  realised  how  advantageously  it  might  be  applied 
to    his  vases.      Indeed,  for  simplicity  of  form  and  re- 
straint of  enrichment,    the   vases 
which  mainly  depend  upon    ngincj 
turning  for  their  decoration   hold 
iii.    foremost   place  amongst  his 
prodm  ts  in  basaltes.    The  bodi  s 
a   :       gi  nerall)    decorated    with 
flutings,    surmounted    b) 
of  festoon.-. I  draper)  or   flowers, 
th.'  handles  springing  from  -atyi 

heads,     masks,     01      goal 
Naturally,     these     motives    were 
varied,    but     the    vasi  s    ol     the 
simplest  charai  ter,  produi 
about    1701)  to    17S0     the    best 

yi  .us  of  the  W  1  'lew l&   Bi  tltli  j 

partnership  are  ol  similai  form, 
in, I  aie  obviouslj  related  on,-  to 
1  Th.'  artistic  climax 
oi  this  class  ol  ».iM'\  we  venture 
to  assert,  was  reached  in  the 
beautiful  example  her.-  repro- 
.-!     oi  ..  pair  to  b 


th'-  top  0 

about   1 


11     El 


.      The  flutin 
fitted  to  its   oviform 


- 


PRINCESS  FREDERICKA  SOPHIE  WILHELMINA 

BY    J.    F.    A.    TISCHBEIN 

Rijks  Museum,  Amsterdam 


The  Evolution  of  Black  Basaltes  JVare 


body,  and  the  leopard-head  handles,  together  with  the 
bands  of  ornament  around  the  shoulder  and  foot,  seem 
to  supply  just  sufficient  enrichment  to  the  restrained 
form  of  the  vase. 

These  simple  pieces,  which  are  essentially  the 
product  of  the  thrower's  wheel  and  the  turner's  lathe, 
gradually  developed  into  the  more  elaborate  examples 
which  are  inherently  associated  with  the  process  of 
casting — long  before  introduced  in  the  production  of 
salt  glaze.  The  most  famous  amongst  the  early 
ornamental  examples  of  greater  elaboration  were  the 
"  Wine  and  Water "  vases,  modelled  by  Flaxman  in 
1775 — here  illustrated.  It  is  not  at  all  unlikely  that 
in  their  production  Flaxman  was  influenced  by 
designs  in  bronze,  but  apart  from  the  handles,  which 
appear  too  weak  for  a  ceramic  material  even  of  the 
Strength  of  basaltes,  they  are  quite  appropriate  to  the 
material  and  possess  a  dignity  and  grace  of  form  and 
enrichment  which  are  quite  satisfying.  The  elabora- 
tion of  design,  in  pieces  mainly  produced  by  casting, 
reaches  its  culmination  in  the  tripod  vases,  lamps, 
pot-pourri  vases  and  such  like  examples  of  basaltes, 
of  which  we  give  three  examples.  One  of  the  finest 
specimens  of  this  class  is  the  large  sphinx  centre- 
piece before  referred  to.  The  photograph  gives  some 
idea  of  its  dignity  of  form,  despite  its  elaborate 
character,  and  of  its  unity  of  design,  notwithstanding 
the  combination  of  decorative  motives  of  different 
historic  periods.  The  sphinx  pot-pourri  is  an  early 
example  of  the  numerous  tripod  vases  produced  and 
is  another  good  example  of  the  caster's  art.  The 
leopard  tripod  vase  is  a  later  example  of  the  same 
class  and,  even  apart  from  its  design  and  modelling, 
is  of  special  interest  by  reason  of  its  method  of  pro- 
duction. The  lower  portions  are  cast.  The  upper 
bell-shaped  portion  and  the  lid  are  thrown  and 
turned,  the  band  of  ornament  and  the  diminutive 
figures  forming  the  knob  being  afterwards  applied. 
The  engine-turned  fluting,  by  reason  of  its  simplicity, 
appropriately  acts  as  a  foil  to  the  richness  of  the 
lower  portion. 

In  the  pieces  belonging  to  this  period  oi  greater 
elaboration,  we  have  the  culmination  of  classicism  as 
applied  to  basaltes.  Beginning  with  pure  Egyptian 
ornament,  Wedgwood  also  used  Greek,  Roman  and 
Renaissance — indeed  he  borrowed  more  or  less  from 
all  the  historic  styles — and  combined  motive  with 
motive,  as  only  a  master  craftsman  would  venture  to 
do,  until  he  evolved  a  classicism  of  Ins  own.  In  some 
tew  instances,  the  great  potter  even  went  so  far  as  to 
combine  with  the  conventional  ornament  ol 
art  the  naturalistic  enrichment  he  used  less  frequently, 
but  in  so  doing,  he  set  himself  an  even  greater  task 
than   in  combining   the   motives  of  differing   historic 


styles.  When  the  naturalistic  ornament  was  treated 
broadly  and  severely,  the  result  was  not  displeasing  ; 
bin  when  it  was  not,  the  result  was  a  sense  of  incon- 

\  case  in  point  is  a  large  classic  pot-pourri 
d  form,  formerly  in  the-  Propert  collection  and 
now  in  the  Wedgwood  Institute,  and  in  this  instance 
:  o  ivj  has  been  applied— almost,  it  would 
seem,  as  an  afterthought.  Another  example  is  a 
tazza  with  red  applied  ornament,  in  the  South  Ken- 
sington Museum,  and  in  this  'case  the  enrichment 
consists  of  naturalistic  vine  growth  as  a  frieze  and  a 
Greek   border  as  the   plinth  decoration. 

The  final  development  of  true  basaltes  took  place 
in  1776,  when  Wedgwood  commenced  to  apply  bas- 
reliefs  of  classic  figures  and  groups  to  his  vases  and 
oilier  pieces  — reliefs  which  in  frequent  instances  were 
the  same  as  heiapplied  to  liis  jasper  ware  ;  for  instance, 
The  Dancing  Hours  and  The  Apotheosis  of  Homer. 
Indeed,  at  this  period  the  two  ;  wares  were  closer) 
related  in  design.  In  the  Wedgwood  Institute  there 
is  an  exact  replica  in  basaltes  of  the  jasper  vase 
in  the  British  Museum  which  bears  the  relief  The 
Apotheosis  of  Homer,  and  is  surmounted  by  a  small 
pegasus.  An  example  of  another  type  of  development 
was  the  application  of  reliefs  to  the  "  Wine  and  Water  " 
vases.  In  the  Wedgwood  Institute  there  are  varia- 
tions of  these  vases,  in  which  the  all-sufficient  festoons 
of  the  originals  have  been  replaced  by  reliefs,  repre- 
senting The  Birth  and  Education  of  Bacchus  and  A 
Bacchanalian  Dance.  A  comparison  of  the  two 
designs,  however,  reveals  how  immeasurably  superior 
were  the  more  simple  and  dignified  originals  by  Flax- 
man. But  it  is  not  to  be  'assumed  that  this  latest 
class  of  basaltes  productions  does  not  comprise  pieces 
ol  individually  artistic  worth,  for  one  of  the  most 
artistic  examples  of  basaltes  which  we  have  seen — 
especially  if  regarded  from  the  decorative  rather  than 
the  utilitarian  point  of  view — is  a  large,  kettle  in  the 
Ilanlev  Museum,  showing  great  beauty  in  its  restrained 
form  and  decoration.  Its  enrichment  consists  of  a 
frieze  of  cupids  treated  in  very  low  relief,  which  is 
enhanced  by  simple  flutings  turned  into  the  piece  on 
the  lathe.  Main  other  finely  designed  specimens  of 
similar  character  are  to  be  found  in  the  various 
coif .  tions. 

T mplete    the  types   of  basaltes   produced  by 

Wedgwood,  it  is  only  necessary  to  mention  the  life- 
size  busts,  the  statuettes  (one  of  Mercury,  modelled 
by  Flaxman  about  17S0,  is  here  illustrated),  tb 
medallion  portraits,  the  seals  anil  the  intaglios. 

[The    illustrations  o!    basaltes   are  from  examples  in 
the    museum    opened  at    lururia    111    [906    by   M        1 
fosiah    Wedgwood    .\     Sons.       The    others    are    from 
pieces  111  tin-  Ilanlev  Museum.] 


THE    MILKMAID:    MORNING 


r,N     B.    I      Bl  >  MM!  RS 


Pictures 


Glasgow's  Latest  Acquisition 
By  Percy  Bate 

The  picture  lovers  of  Glasgow  and  the  \\  esl 
of  Scotland  must  surely  be  among  the  most  public- 
spirited  of  citizens.  Year  by  year  the  exhibition  of 
the  Royal  Glasgow  Institute  of  the  fine  Arts  is 
distinguished  by  the  inclusion  of  masterpieces  ol  all 
kinds  lent  from  private  sources,  and  year  by  year  the 
civic  collections  are  enriched  by  loans  and  gifts  of  the 
most  important  character. 

Among  the  works  of  art  which  have  lately  been  lent 
to  the  city  may  be  noted  the  collection  of  Captain 
Dennistoun,  of  Golfhill  ;  a  series  of  works  by  our 
native  masters  of  the  eighteenth  century  (including 
Gainsborough,  Romney,  and  Turner),  from  Sir  Edward 
Tennant  ;  an  important  group  of  1  Hitch  pictures  ol  the 


The  Carfrae  Alston  Collection 


seventeenth  century,  owned  by  Mr.  Arthur  Ka\  ;  a 
notable  collection,  mainly  of  Italian  pictures  and 
portraits  of  the  finest  period,  mad.-  by  Mr.  William 
Beattie;  and,  by  no  means  least,  a  unique  group  ol 
modern  works  belonging  to  Mr.  Andrew  Maxwell, 
among  which  are  to  be  found  a  splendid  Corot,  and 
line  examples  of  Monticelli,  Monet,  Chalmers,  and 
Tadema. 

Turning  from  the  loans  to  the  gifts  and  bequests, 
mention  should  be  made  of  such  individual  donations 
as  Albert  Moore's  exquisite  Reading  Aloud,  Sir  James 
Guthrie's  impressive  Highland  Funeral,  Sir  E.  Burne 
Jones's  beautiful  Danae  and  the  Tower  of  Brass,  an 
authentic   /  h  in  a  -.•<""  \i  with  St.  John,  by  Bottii  i  Hi, 


The   Connoisseur 


and  a  fine    Virgin  and  Child  Enthroned,  by   Barto- 

lommeo  Montagna  (to  name  no  others),  each  recently 

presented  to  the  citj  b)  generous  Glaswegians;  while 

lobler  in  scope  and  more  important  inartistic 

value   are    such    unique    benefactions   as   the    Elder 

bequ    it,  the  Reid  gift,  and  the  Donald  bequest.     The 

two  I. up  i  are  probably  among  the  most  magnificent 

individual  contributions  made  in  recent  years  in  any 

British  gallery,   the   Reid  gifl  comprising  one  of  the 

greatest  ( !orots  in  the  world,  a  tuperb  Israels,  notable 

works  by  Constable,  Jacque,  and  othei   painters  oi  a 

md  a  glorious  Turner,  a  canvas  ol  the 

1  .n.n  .  while  the 

fort]    |n<  tun  -    im  ludes 

imp]      "'  mi  h  leading  Scottish  paintei  i  as 

:i    md    Pettie,  a     «   II   as  a   long   set ies  ol 

m  i  ters  as 

fules   1  lupre",    I  tecamps,    Rousseau, 

Daub  -    modern 

hools. 

And  now, 

f  Mr.  I  larfrae 
h 

tbinet  pictures, 


mostly  water  colours  (together  with  a  masterly  bronze  of 
A  Prowling  Panther,  by  J.  M.  Swan),  each  work  typical 
in  mood,  method,  and  subject  of  the  artist  represented, 
and  all  chosen  with  cultured  and  fastidious  taste. 

This  is  not  the  place  for  an  elaborate  account  of  the 
pictures  thus  added  to  the  permanent  collection  of 
Glasgow,  but  a  brief  note  concerning  them  may  be 
desirable.  They  are  singularly  even  in  quality,  and 
there  is  probably  no  individual  work  which  stands  pre- 
eminent amongst  them,  but  there  are  some  grounds 
for  naming  first  among  the  drawings  two  by  Johannes 
Bosboom.  Both  are  in  some  ways  slight,  but  each  is 
full  of  distinction;  and  while  the  one  entitled  The 
Interior  of  a  Court  J/oi/se  is  notable  for  its  breadth  of 
handling,  its  happj  contrast  oi  light  and  shade,  and 

the  skill  with  which  the  artist  has  used  the  dark  mass:  S 
ol  his  composition,  the  other  (the  Church  Interior 
hi  re  reprodui  ed)  is  equally  characteristic  in  its  colour- 
n  of  harmonious  browns  and  its  spontaneity  ol 
draughtsmanship.  Anothei  ol  the  great  Dutchmen, 
Amen  Mauvi  ,  i  -  also  represented  by  two  drawings,  one 
a  piei  ol  put  landscape,  Clearing  after  Rain,  with 
sand  dunes  and  sparse  herbage  beneath  a  beautifully 
felt  and  subtly  tn  al  d  gre)  sk)  ;  the  other  a  landscape 


The   Carfrae   Alston    Collation 


THE   HERDWIFE  BY  ANTON   MAUVE 

with  figures — The  Herdivife — charming  in  design,  beau- 
tiful and  reticent  in  colour,  and  evincing  in  every  one 
of  its  few  square  inches  the  artist's  innate  appreciation 
of  the  fundamental  qualities  of  water-colour  art. 

By  Albert  Neuhuys  is  a  low-toned  figure  subject 
called  A  Two-Handed  Crack  (a  Scotch  phrase  happily 
applied  to  a  Dutch  drawing),  in  which  are  depicted 
two  urchins  in  earnest  converse,  sitting  beside  a  fire 
whereon  a  cauldron  boils  ;  while  Adolf  Art/,  is  repre- 
sented by  Placid  Enjoyment—?,  mother  and  her  two 
children  resting  on  the  grassy  shore,  the  sea  blue-grey 
in'  the  distance  beneath  the  tempered  sunlight  ot  a 
hazy  day.  In  the  same  ■genre  as  these  two  is  an 
aquarelle  which  is  probably  one  of  the  most  beautiful 
things  in  the  collection,  the  lovely  Milkmaid :  Morning 
Call,  by  Bernardus  J.  Blommers,  a  drawing  al  once 
broad  and  delicate,  in  which  the  pale  blue  of  the  girl's 
dress  and  the  cool  grey  of  the  cottage  wall  are  deftly 
relieved  by  the  happy  accent  of  the  blue  yoke  which 
has  slipped  from  her  shoulders,  and  the  deeper  hue  of 
the  pail  she  has  just  laid  down. 

Sharply  contrasting  with  the  dainty  art  of  Blommers, 
the  two  drawings  by  J.  M.  Swan  next  call  for  notice, 
and  in  particular  the  impressive  On  the  Alert,  which 
shows  a  lioness  and  her  two  cubs  prowling  on  tl 


of  a  precipice,  the  valley  below  being  tilled  with  mist. 
Like  all  of  this  capable  painter's  work,  the  drawing  in 
question  shows  an  instinctive  sense  of  power,  and 
while  it  is  carried  just  far  enough  to  be  absolutely 
complete,  it  yet  retains  all  the  verve  and  vigour  of  a 
first  sketch.  Finally  must  be  mentioned  an  atmos- 
pheric rendering  of  Antwerp,  by  Jules  Lessore,  and 
(hanging  pendanl  to  this)  South  Queens/erry,  by 
Robert  VV.  Allan,  a  broadly-treated  rendering  of  an  old 
Scots  village  street  bathed  in  the  cool  sunshine  of  early 
morning,  beneath  a  clear  and  pellucid  sky. 

Fewer  in  number  than  tin-  water  colours,  as  has 
been  said,  the  oil  paintings  are  no  less  distinguish  :d 
in  quality,  and  among  the  first  to  demand  notice  arc 
two  by  fames  Maris,  The  Storm-Cloud  ami  ./  'Quiet 
Berth:  Morning  Glow.  The  former  is  a  dignified 
and  largely  seen  composition,  in  which  the  sensation 
of  impending  thunder  is  admirabl)  com 
latter,  larger  in  scale,  is  a  sinking  canvas,  freely  and 
broadly  handled,  and  delightful  in  th  luminou  qualitj 
oi  the  sky  and  the  rich  green  of  the  gra  .  both 
di  xterously  emphasised  by  the  sombre  foli; 
trees.  Not  less  spontan  ous  is  th  vivaciously  treated 
Crail  Harbour  of  R.  W.  Allan,  while  in  quite  another 
mood  Alexander   Frazer's  Barncluith,  highly  wrought, 


AIK\      LILIAN 


I'.Y      D.     y.    I   AMI   K<  i\ 


The  Carfrae  .listen  Collodion 


completely  realised,  and  sparkling  and  glowing  with 
sunshine,  proves  Mr.  Alston  a  collector  as  catholic  in 
his  taste  as  he  is  discriminating  in  his  judgment. 
And  if  any  other  e\  idence  were  needed  of  his  sympathy 
with  widely-varying  ideals  in  pictorial  art,  it  would  be 
found  in  the  two  last  canvases  to  be  mentioned,  works 
absolutely  different  in  their  character  from  the  realism 
Of  Frazer  or  of  Mauve.  These  two  pictures  (each  in 
its  way  instinct  with  the  note  of  romance)  are  D.  Y. 
Cameron's  Fairy  Lilian,  painted  at  a  time  when  this 
truly  poetic  artist  was  under  the  spell  of  Matthew 
Maris,  and  Adolphe  Monticelli's  Garden  File,  an 
exquisite  idyll  of  the  golden  age,  quite  lovely  in  its 
glamorous  colour,  its  suggestion  of  idle,  languorous 
breezes,  and  its  ardent  sunshine. 


It  would  haw  bed,  possible  to  expatiate  at  much 
length  on  the  beauty  and  the  charm  of  this 
collection  thus  generouslj  bestowed  on  the  donors 
native  city,  but  enough  has  been  said  to  -how  that 
Mr.  Alston's  gift  is  ol  the  highest  artistic  importance. 
Admirably  chosen.  eai  h  work  has  its  own  i  harai 
qualities  and  its  own  individual  appeal.      1  here  is  not 

■  which  dominates   the   mind   o\   the  observe!    b) 

■    i    its  size  :    not   one  which   seeks  to  dazzle 

because  of  its  vibrant  colour,  01  to  allure  b)  dash  or 
Ol  paint  ;  their  appeal  is  tli.it  ol  quiet  powi  i. 
A  certain  sweet  gravity  is  the  l,  ynote  ol  the  collection 
as  a  whole,  and  each  ol  the  works  included  in  this 
important  benefai  tion  impresses  b\  mi  an  ol  it  quii  I 
n  ticent  artistry. 


(9)    GEORGE    I.  TORTOISEMIELL    AND    SILVER 


(5)    WILLIAM    III.  MOTHER-0  -PEARL    AND    SILVER 


(3)    CHARLES    I.  TORTOISESHKI.L     AND    SILVFI. 


(6)    QUEEN    ANNE  MOULDED    HORN    AND    SILVER 


I  14)    WILLIAM    IV.  GOLD    AND   CRYSTAL 


(IJ)    GEORGE    III.  GOLD 


-£>*   <■> 


Some    Royal    Snuff=boxes 


By   W.  B.  Boulton 


The  snuff-box  having  been  always  among 
the  more  intimate  possessions  of  its  owner,  it  follows 
that  a  good  collection  of  snuff-boxes  is  often  repre- 
sentative of  the  taste  in  minor  matters  of  succeeding 
generations  of  gentlemen,  and  at  times  throws  interest- 
ing sidelights  upon  their  personalities  and  the  events 
which  have  agitated  their  lives.  Such  considerations 
as  these  are  very  obvious  in  looking  over  a  collection 
like  that  of  Mr.  Sloane  Stanley,  at  Paultons,  a  gentle- 
man who  has  been  kind  enough  to  place  his  treasures 
at  the  disposal  of  the  writer.  His  collection  is  a  large 
one,  and  although  it  contains  many  boxes  of  very 
costly  material,  it  has  been  formed  upon  a  design 
which  contemplated  considerations  of  more  interest 
than  mere  intrinsic  value.  It  includes,  for  instance, 
a  set  of  boxes  each  of  which  has  a  direct  reference  to 
one  or  other  of  the  monarchs  who  have  occupied  the 
throne  of  England  since  the 
snuff  habit  came   into  vogue. 

It  is  improbable  that  a  snuff- 
box exists  dating  from  the  reign 
of  that  great  enemy  to  tobacco, 
James  the  First,  but  Mr.  Sloane 
Stanley  has  several  which  com- 
memorate the  virtues  and  mis- 
fortunes of  his  son.  The  first 
illustration  shows  a  fine  speci- 
men of  pierced  silver  work 
surrounding  a  medallion  por- 
trait of  King  Charles  ;  another 
(2),  archaically  carved  in  box- 
wood, quaintly  records  the 
tragedy  of  January  30th,  1649  ; 
a  third  (3)  is  a  very  good  speci- 
men of  the  early  use  of  tortoise- 
shell  and  silver  in  snuff-boxes.  (1)  charles 


The  Stuart  tradition  is  preserved  in  a  very  interesting 
fashion  in  (4),  a  fine  specimen  of  the  memorial  box. 
It  is  of  silver  and  mother-o'pearl,  and,  as  will  be 
seen  from  the  photograph,  is  engraved  on  the  inside 
of  the  lid  with  a  representation  of  the  escape  of  King 
Charles  the  Second  in  the  Boscobel  oak.  The  top 
of  the  box  is  carved  in  low  relief  with  a  bust  of 
Charles  the  First  surrounded  with  the  emblems  of 
his  piety  and  his  misfortunes — the  book  of  Common 
Prayer,  an  axe,  and  a  broken  sceptre.  It  was 
probably  long  carried  by  some  loyal  adherent  of  the 
family,  for  the  carving  is  so  worn  by  use  as  barely  to 
shew  the  design.  Mother-o'-pearl  was  a  favourite 
material  for  the  snuff-box  in  those  days,  as  witness 
the  very  chaste  box  (5)  of  that  material  and  silver  in 
which  is  mounted  a  medal  of  William  the  Third, 
commemorating  the  glories  of  the  Revolution  of  1688. 
The  excellent  taste  of  the 
Queen  Anne  period  appears 
very  pleasantly  in  the  silver 
box  (6)  with  a  moulded  horn 
medallion  of  the  queen.  The 
mouldings  and  hinge  of  this 
box  are  charming  in  their  pro- 
portions,  and  the  delicate  pat- 
tern in  inlaid  silvei  surrounding 
the  bust  i  •  quite  typii  al  ol  the 
best  design  of  the  period.  The 
exiled  branch  of  the  Stuarts  is 
represented  in  Mi.  Sloane 
Stanley's  collection  by  two  very 
interesting  specimens,  171a 
small  silver  box  with  a  minia- 
ture Ol  lames,  the  <  Mil  Preten- 
der, as  a  young  man,  forming 
the   lid,   and   covered    with  the 


I)   GEORGE    III.    AND 


CHARLOTTE  GOLD    WITH 


0(8)    YOUNG  PRETENDER  SILVER,  WITH  SECRET  MINIATURE 


(7)    THE    OLD    PRETENDER  SILVER 


11 


1    IIARLES    I.  CARVED    BOXWOOD 


Some  Royal  Snuff-boxes 


Stuart  tartan,  and  (8)  a  sil- 
ver box  lined  with  mother- 
o'-pearl  commemorating  the 
memory  of  Prince  Charlie. 
Its  attraction  for  the  loyal 
Jacobite  was  the  miniature 
of  that  Prince,  concealed  by 
a  double  lid,  clearly  shewn 
in  the   photograph. 

It  must  be  confessed  that 
the  taste  in  snuff-boxes 
appears  to  have  suffered  a 
gradual  decline  with  the  ac- 
cession of  the  Hanoverians. 
That  of  George  the  First  (9), 
it  is  true,  is  harmless  plain 
silver  and  tortoiseshell,  a 
return  both  in  design  and 
material  to  the  designs  of 
the  days  of  Charles  the 
First,  but  the  later  boxes 
are  more  interesting  from 
their  associations  than  as 
works  of   art.      George   the  <-+)  charles  ii.  : 

,         ,  .,  MOTHER-O  -PE 

Second  appears  in  the  gold 

medallion  mounted  in  crystal  (10),  an  arrangement 
which  displays  no  very  great  taste.  Boxes  of  George 
the  Third  are  very  numerous.  An  interesting  one 
is  that  (11)  shewing   King  George  and  his  Queen  as 


young  people  carved  as  a 
cameo  in  onyx,  which  has 
an  added  interest  as  having 
once  belonged  to  the   1  >uki 

ol  Ki  nt.  (121  is  a  typical 
presentation  box  ol  that 
reign,  with  a  finely  painted 
miniature  ol  the  King  as  an 
older  man.  The  taste  in 
boxes  certainly  declined 
under  his  son,  whose  box 
(13),  presented  to  Colonel 
Congreve,  contains  a  heavy- 
gold    medallion    of    the 


Regent,  b; 


U 


VMM. 


rounded  by  flamboyant  de- 
sign in  gold,  and  mounted 
in  crystal.  A  similar  box 
(14)  is  that  of  William  the 
Fourth,  also  by  Wyon.  The 
reverse  of  the  medal,  form- 
ing the  inside  of  the  lid, 
commemorates  the  restora- 
tion of  Windsor  Castle, 
and  the  back  contains  a 
fragment  of  oak  from  one  of  its  timbers.  An  inscrip- 
tion rather  naively  records  that  the  Castle  was  built 
by  William  the  Conqueror,  and  restored  by  the  fourth 
monarch  of  that  name. 


"The  Decoration  and  Furniture  of  English  Mansions  during  the 
Seventeenth  and  Eighteenth  Centuries,"  by  Francis   Lenygon 
Reviewed  by  Haldane   Macfall  (Werner  Laurie) 


Mr.  Lenvcon  begins  this  large  volume  with 
i  modest  suggestion  that  it  is  written  round  the  famous 
old  mansion,  No.  31,  Old  Burlington  Street,  with 
which  he  would  seem  to  have  business  relations, 
but  it  is  lar  more  than  such  a  book  would  imply; 
indeed,  1  may  say  that  it  makes  a  valuable  companion 
to  Mr.  M.iri  jui n'd's  large  work  on  English  furniture. 
Its  value  lies  in  an  ordered  study  of  the  rooms  of  the 
more  important  homes  of  England  as  a  whole — it 
breaks  ground  in  this  most  important  field,  for  we 
have  had  too  many  books  of  late  upon  the  details  of 
furniture  torn  from  their  surroundings,  without  any 
hint  of  their  relationship  to  the  rooms  for  which   they 


were  made.  And  until  a  more  important  and  ex- 
haustive work  is  written  on  the  subject,  Mr.  Lenygon's 
volume  will  be  as  good  a  work  of  reference  for  the 
collector  as  any  of  which  I,  at  any  rate,  am  aware. 

It  is  perhaps  for  the  reason  that  the  author  has 
been  bent  upon  the  development  of  the  room  as  a 
whole,  rather  than  upon  the  pieces  of  furniture  in  it, 
that  he  is  no  good  guide  for  furniture.  The  student 
and  collector  may  be  warned  at  the  start  that  Mr. 
Lenygon  goes  back  to  the  vicious  system  of  dating 
pieces  of  furniture  as  being  of  "  the  end  of  the 
seventeenth  century  "  and  the  like  fatuities.  These 
labels    are    utterly    valueless.       But    we    may    wholly 


I        rOP      I'NlM.OSEl)     IN     CHASED     BRASS     KRAMB 


Decoration  and  Furniture  of  English  Mansions 


disregard  his  dates  and  treatment  of  furniture  ;  they 
are,  when  all's  said,  a  very  subordinate  part  of  his 
book,  and  had  best  be  ignored.  But  when  he  comes 
to  the  treatment  of  rooms  the  student  will  find  the 
book  of  considerable  value  ;  and  there  is  much 
excellent  reading  besides. 

At  the  same  time,  and  it  may  account  for  the 
author's  weakness  as  a  guide  to  furniture,  his  taste 
is  on  occasion  as  questionable  as  his  assertions  are 
dogmatic.  These  assertions  of  taste  must  be  taken 
with  considerable  salt.  Yet,  on  the  whole,  I  like 
him  for  throwing  down  the  gauntlet  for  Kent. 
This  designer  and  architect  of  early  Georgian  years 
has  never  had  justice  done  to  him  ;  and  if  Mr. 
Lenygon  overrates  him,  he  at  least  does  not  overrate 
him  as  much  as  he  has  been 
hitherto  underrated.  I 
thoroughly  agree  with  the 
author    that    Kent     produced 

much  excellent  and  dignified 
work  ;  but  I  am  bound  to  say 

I  see  no  reason  to  underrate 
the  great   men  that   followed 

him,  Chippendale  and  the 

Adams,  in  order  to  raise  Kent. 

The  man's  genius  cannot   be 

compared  with  the  genius  of 

either  of  these  others.       Nor 

does  the  fact  that  Chippendale 

created  much  mediocre  design 

assist    Kent's    reputation — for 

Kent  produced  some  shock- 
ingly clumsy    and    vulgar 

designs. 

There  is  no  greater  falsity, 

none   that    has   been  a    more 

fruitful    source    of    vulgarity, 

than  the  idea  that   because  a 

piece  of    furniture  was  made 

in  a  certain   age  that  it  must 

therefore  be  good.     There  is 

not    a    single    period    of    the 

past  that   has   not    produced 

abominable    designs   and 

hideous  craftsmanship.      Kent 

and  Chippendale  both  sinned 

many  sins.  It  is,  in  fact,  when 
we  begin  to  look  upon  works 
of  art  with  the  dealer's  eye 
instead  of  with  the  artist's  eve, 
that  we  place  a  wrong  value 
on  all  works  of  art  and  all 
craftsmanship.  And  there  is 
no  better    proof  of  this  than 


GIRANDOLE, 


in  Mr.  Lenygon's  book,  where  we  find  him  praising 
oi  furniture  simply  because  the)  are  genuine 
.  but  unable  to  see  thai  thi  y  an  absi 
abominations  in  form  and  line.  This  is  all  the  more 
to  be  regretted,  since  the  author  makes  no  attempt 
to  evolve  the  design  of  furniture,  and,  therefore,  is  not 
in  any  way  compelled  to  give  si  vi  ral  oi  the  spa  imens 
which  disfigure  m\  otherwise  handsomely  illustrated 
and  sumptuous  volume. 

But  to  get  back  to  Kent.  Then:  is  a  large  truth  in 
Mr.  Lenygon's  contention  that  the  writers  on  furniture 
are  in  the  habit  of  judging  isolated  pieces  designed  by 
the  early  Georgian  architect,  torn  from  their  sur- 
roundings, and  finding  them  heavy.  This  is  a  most 
just  attitude.  They  should  be  considered  solely  in 
relation  to  the  palatial  rooms 
for  which  they  were  intended, 
and  of  which  they  were  a 
most  worthy  part.  And  al- 
most more  right  is  he  in  his 
contention  that  many  of  the 
looms  designed  by  Kent  were 
dignified  and  handsome 
places.       They  were. 

Mr.  Lenygon's  book  is  also 
valuable  for  the  admirable 
series  of  chimney-places  illus- 
trated, and  for  his  able  esti- 
mates of  their  effectiveness  as 
well  as  the  history  of  their 
evolution. 

Some  of  his  examples  of  the 
art  of  Kent  do  not  bear  out 
his  praise  ;  on  the  other  hand, 
such  superb  examples  as  the 
oval  mirror  with  the  terminals 
of  women's  heads  and  busts 
ending  in  mermaids'  tails  in- 
crease one's  respect  for  the 
man's   genius. 

Besides  the  able  chapters 
devoted  to  the  evolution  of 
the  rooms  of  great  houses,  the 
author  has  several  valuable 
chapters  upon  subjects  only 
too  often  dismissed  in  vague 
generalizations  by  the  writers 
on    English    furniture.      The 

chapters     on      tapi 

wood-panellings,  on  plaster 
decoration,  on  the  School  of 
Grinling  Gibbons,  on  decora- 
tive  paintings,  on  velvets  and 


damasks,  on  lacqw 


,,., 


The  Connoisseur 


work,  on  carpets,  and  on  the  lighting  of  rooms,  are 
all  well  worth  serious  consideration. 

In  the  treatment  of  the  early  Georgian  chimney-piece, 
a  subject  which  Mr.  Lenygon  seems  to  have  made  par- 
ticularly his  own,  and  in  which  his  admiration  for  his 
beloved  Kent  has  full  scope,  he  is  most  excellent  read- 
ing. I  cannot  say  that  his  admiration  is  as  convincing 
as  his  information  is  interesting  ;  but  it  is  a  valuable 
addition  to  our  knowledge  of  the  evolution  of  the 
English  room.  It  is  to  be  hoped  that  Mr.  Lenygon  will 
ouraged  to  issue  a  volume  in  which  he  wholly 
discards  furniture  and  gives  us  instead  an  elaborate 
evolution  of  the  interior  of  the  English  home  from 
Stage  to  stage,  consistently  carried  out,  and  illustrated 
as  handsomely  as  this  first  essay  into  the  fascinating 
field.  The  book  is  badly  wanted,  as  a  guide  to  the 
student  of  furniture,  as  a  guide  to  taste  in  decorating 
ind  as  an  authoritative  historical  work.  He 
seems  to  shape  for  the  handsome  business.  And  if 
he  can  he  prevailed  upon  to  do  it,  I  would  suggest 
that   he    place   his    illustrations  opposite  to  his  text, 


instead  of  in  the  maddening  system  now  and  again 
employed  by  him  whereby  we  have  to  be  ever  refer- 
ring backwards  and  forwards  to  discover  the  illus- 
tration to  which  he  refers.  This  business  of  placing 
the  illustrations  away  from  the  text  is  nothing  but 
downright  bad  bookmaking,  wholly  without  excuse; 
and  when,  as  in  this  case,  the  illustrations  are  such 
fine  reproductions  as  the  author  gives  us,  it  seems 
almost  wicked. 

It  must  be  said,  however,  that  the  author  has  made 
con  iderable  effort  to  carry  out  this  essential  quality 
of  illustration.  He  would  have  been  more  successful 
had  he  not  designed  his  pages  by  "  bunching  " 
together  illustrations  that,  good  in  themselves, 
destroy  each  other  when  flung  together  without  any 
sense  of  design.  But,  lest  the  last  word  I  say  upon 
this  interesting  work  should  seem  to  strike  the  note 
of  disparagement,  I  would  add  that  the  volume 
contains  much  valuable  matter  all  too  rarely  touched 
upon  by  the  ordinary  writer  upon  old  English 
Furniture. 


ESSO     i    .  i 


VISCOUNT  ALTHORP 

BY    SIR    JOSHUA    REYNOLDS 

In  the  possession  of  Karl  Spenc 


The   Caricaturist   of   the    Thirties— "  HB 


By    Egan    Mew 


In  the  early  days  ot  the  last  century  the 
fashion  of  anonymity  was  still  cultivated  with  success. 
During  those  far-off  simple  times  the  verse-writer 
with  an  agreeable  pseudonym  and  the  satirist  who 
masked  his  personality,  or  even  the  novelist,  who 
was  merely  a  "Lady  of  Title,"  were  supposed  to  be 
people  ot  importance  or  gentlemen  who  wrote  with 
ease,  and  dropped  their  names  because  they  desired 
the  freedom  to  be  witty.  Nowadays  the  nameless 
are  the  insignificant  ;  but  times  have  changed.  The 
vogue  of  the  anonymous  was  one  of  the  factors  in 
the  enormous  success  which  befell  that  once  famous 
caricaturist   of    the    early   nineteenth   century   "  HB." 


But  other  causes  of  his  popularity  were  equally  potent. 
For  example,  his  portraits  were  admirable,  and  he 
possessed  a  pleasant  sense  of  humour.  He  was  a 
fair,  but  not  a  splendid  draughtsman  ;  he  wa 
and  acute,  and,  above  all,  his  methods  and  his 
manners  were  instinct  with  the  spirit  of  his  period, 
that  wonderfully  conventional  period  when  all  the 
world  was  young  and  Queen  Victoria  reigned  in  the 
hearts  of  her  subjects. 

After  the  violent  and  powerful  Gillray,  the  gay  and 
accomplished  Rowlandson,  the  mirthful,  but  inartistic, 
Bunbury,  and  others  of  that  time,  the  art  and  craft 
oi     English    political    caricature   fell    upon    evil   days 


gfc 


rEMPTING     AIM 


The    Connoisseur 


'  V 


- 


NO.    II         V(  ONTRAST      (1S38) 

.mil  almost  disappeared.  But  about  1830  a  clever 
miniaturist  turned  his  thoughts  towards  this  neglected 
field  and  soon  developed  a  highly  original  style. 
"KB"  took  his  first  few  drawings  to  Maclean,  who 
published  them  with  immediate  success;  but  the 
artist  remained  a  man  of  absolute  mystery  for  many, 
many  years.  It  lias  long  been  generally  known  and 
often  forgotten  that  this  reformer  of  satiric  political 
was  John  I  loyle,  the  father  of  the  illustrator 
\  ",vi  and   designer  ol    the   Punch 

cover,  the  ono  equally  famous  "Dicky"  Doyle. 
How  the  curious  monogram  "  hB  "  was  arrived  at  is 
unknown.      Some  people   have  thought   that   the  ailist 

ieni  il,  as  .1  w ritei  1  ailed 

1  rowquill "  01   a  painter  "  Mahlstick."     It 

ha  i  also  been  1  cplain  d  thai  1  his  lettei  ing  wa  i  merely 

an  an. hi     11, rni  and  duplication  ol   the  artist's  initials 

villi  a  line  between 


1T1 


tlniii.  thus  making  KB.     This  is  rathe)  elaborate  and 

,    :,  1  ince   more  full  veral 

iiined    in    plain 

running  lettei      II     B.,  bul    in   any  1  .1  .-■   the   reason   is 

1         nai         ira      easy   to 

power  in  the   land,  although 
.  inued  in  be  an  inviolable 


secret.  In  Doyle's  earliest  work  there  is  a  touch  of 
the  bitterness  and  acrid  personality  which  was  so 
marked  a  feature  in  the  productions  of  Gillray  and 
his  school.  But  very  shortly  his  point  of  view  softened 
to  an  urbane  wit,  and  his  manner  of  drawing  adjusted 
itself  to  the  lines  of  the  popular  lithographic  method 
then   coming   into  general   use. 

When  the  first  illustration  here  given  was  drawn, 
"  HB  "  had  been  some  years  before  the  public,  and 
his  political  sketches  were  immensely  appreciated. 
He  had  been  the  amusing  artistic  commentator  on 
the  last  years  of  George  IV.,  and  when  this  drawing 
was  made  he  was  depicting  a  closing  incident  in  the 
reign  ol  William  IV.  It  represents  a  little  affair  in 
which  l.iird  Melbourne  played  an  important  part  as 
the  tempter.     Sir  John  Campbell,  of  Stratheden,  had 

resigned  1 1  office,  and    bis   lady  had   been    made  a 

She  1^  seen  handing  on  the  apple  to  her 
\. fun,  and  leading  him  back  to  the  tree  ol  honour, 
ovei  which  William  IV.  presides.  Such  quiet 
humours  delighted  the  public  in  the  thirties,  and 
the  frequently  published  sketches  ol  "  HB  "  were 
handed  from  one  to  another  and  talked  about  on  all 
sides.  At  that  time  the  libraries  lent  collections  of 
these  sketches  and  othei  bonks  to  hosts  who  found 
some  difficulty   in   entertaining  their  guests.     There 


The  Caricaturist  of  the   Thirties 


seems  to  have  been  a  considerable  effort  needed  to 
keep  society  from  being  bored  in  that  far  off  time, 
and  the  somewhat  mild  wit  of  "  HB  "  exactly  suited 
the  situation  when  everybody  was  outwardly  so  highly 
genteel.  There  remained,  however,  still  something 
of  the  mad,  bad,  sad  days  of  George  IV.  in  social 
life,  and  there  were  people  left  who  said  of  that 
passed  period,  but,  "Ah!  how  it  was  sweet!"  and 
looked  about  them  for  rather  more  pungent  wit  than 
Doyle  supplied.  Thackeray,  who  had  as  just  a  fear 
of  Mrs.  Grundy  as  anyone  in  his  pusillanimous  day, 
found  "  l-B  "  a  little  bit  timid  by  comparison  with 
the  eighteenth  century  draughtsmen  whose  work  the 
writer  of  the  Four  Georges  knew  so  well.  He  said 
of  John  Doyle — "  You  never  hear  any  laughing  at 
'  hB  '  :  his  pictures  are  a  great  deal  too  genteel  for 
that — polite  points  of  wit  which  strike  one  as  ex- 
ceedingly clever  and  pretty,  and  cause  one  to  smile 
in  a  quiet,  gentlemanlike  kind  of  a  way."  With  the 
passage  of  time  and  the  utter  forgctfulness  which  so 
soon  overwhelms  political  history,  even  that  quiet 
smile  may  be  lost  to  the  present  generation.  Hut 
the  excellent  portraiture  remains  of  lasting  value  to 
the  student,  and  the  very  essence  of  the  spirit  of 
the  period  is  preserved  in  these  old  drawings  and 
examples  of  simple  humour.     The  second  cartoon  is 


especially  good  in  its  portraits  oi  Melbourne  in  the 
and  Brougham  and  Wellington,  and  well 
express.-,  the  then  gem  rail)  a.  <  epti  d  point  that 
Brougham  would  take  an  action  which  the  Duke 
would  consider  bad   form. 

The  life  of  the  coaching  road  in  the  thirties 
suggested  many  pictures  to  "l-B" — the  usual 
aboul  those  politicians  who  are  in  office  wishing  to 
hold  on,  and  those  who  are  out  wanting  to  come  in. 
In  a  drawin-  of  this  kind  Doyle  gives  one  of  his 
delicate  suggestions  of  Queen  Victoria,  who  i.s  often 
thus  slightly  indicated  in  his  pictures  as  though  it 
were  bad  taste  to  make  any  direct  criticism  on  her 
conduct  of  affairs.  "l-B"  was  ever  ready  to  turn 
any  popular  scene  at  the  play  or  any  fashionable 
picture  to  the  uses  of  caricature.  Morton's  farce  of 
The  Invincibles  was  immensely  popular  with  our  great 
grandfathers  in  1839,  when  the  sixth  cartoon  was 
published.  Madame  Vestris,  Fawcett  and  Bartley 
gave  this  piece  considerable  liveliness  and  endowed 
it  with  long  life.  In  the  second  act  two  old  soldiers, 
Brusque  and  O'Slash,  are  routed  by  a  company  of 
ladies  disguised  as  soldiers,  and  "  HB  "  uses  the 
incident  to  tell  of  a  rumoured  defeat  of  the  Duke 
of  Wellington  and  Sir  Robert  Peel  at  the  hands  of 
the  famous  ladies  of  the  bed-chamber.     These   little 


y  (i, 


NO      V.       READ1  ■■■'■      i  in      H     i         O]       ' I       IOH1       BUD       G] 

4U1.TU01         ■..  M'l    i 


\  l     BRILLIANT 


The  Caricaturist  of  the   Thirties 


incidents  always  amused  the  public,  and  when  the 
satirist  pictures  the  ladies  of  the  Court  he  always 
makes  them  a  most  effective  and  agreeable  company, 
so  that  the  sympathy  of  the  outsider  was  generally 
with  the  palace  party. 

Doyle  continued  his  sketches  of  political  life  for 
so  many  years  with  so  uniform  a  success  that  he 
became  an  institution  and  formed  a  new  race  of 
caricaturists.  That  his  work  was  entirely  free  from  all 
offence  and  could  hardly  wound  the  most  susceptible, 
that  his  portraiture  was  excellent,  and  his  wit  ready, 
piquant  and  of  the  moment,  were  the  facts  that  made 
him  so  important  to  his  particular  branch  of  art. 
It  was  thought  by  critics  of  his  own  day  that  he 
would  have  been  a  greater  artist  had  he  worked  on 
the  same  material  and  with  the  same  tools  as  Gillray, 


the   older  Cruikshank,   and    his   other  predc  - 
But  this   is   very  doubtful ;  the   facile   graces  of  the 
chalk   on   stone  suited  his  particular  gifts   fa 
than  the       verities    ol    engraving.      Although  "  HB 
formed  a  new  school  of  political  caricature  his  own 
work    passed   somewhat    rapidly   into   that    limbo   of 
forgotten     humours    which     awaits     even     the     most 
popular.       A    crowd    of    witnesses    to    his 
followed  his  style,    but    his   personal    drawings  were 
almost    forgotten     when    he     died    in    1868.       Bui 
ephemeral    as    much    of   his    work    appeared 
during  the  last   generation,  the  whirligig  of  Time  is 
already    bringing    in    a    revenge    or    two,    and    the 
political   sketches  of   "  l-B "   are  taking   their   proper 
place    in    the    history  of    our    governments  and   the 
story  of  our  satiric  art. 


NO.    VI. — SCENE    FROM    THE    FARCE    OF    "  THE  IN 


VS       <  1  1  1  ',     P]  i;i  1  n'Mi  D    \  1     1  hi     ..111  \'       in 


The  Mediaeval  Ivories  in  the  Liverpool  Museum 
By    Philip   Nelson,   M.D. 


Part  I. 


'I'm  magnificent  collection  of  ivories  in  the 
possession  of  the  city  of  Liverpool  is,  without  doubt, 
one  of  the  finest  in  England,  and  justly  famous 
throughout  Europe.  This  collection  was  the  gift  of  a 
citizen  of  Liverpool,  one  Joseph  Mayer,  Esq.,  F.S.A., 
a  keen  collector,  and  an  eminent  authority  on  all 
branches  of  the  antique. 

The  greater  portion  of  the  series,  which  forms  the 
subject  of  this  article,  was  collected  by  Gabriel 
I  ri  in  wiry,  who,  upon  his  decease,  bequeathed  them 
to  Count  Pulszky,a  Hungarian  noble  ;  but  he,  having 
suffered  owing  to  the  war  of  the  independence,  was  so 
reduced  in  circumstances 
i  to  I"-  compelled  to 
part  with  his  treasures, 
which  thus,  in  1856, 
came  into  I  1  po 
of  Mr.  Mayi  r. 

B  F01  passing  on  to 
the  more  im 
portant  examples  which 
the  collection  contains,  it 
would  no  doubl  bi  ol 
interest  to  review,  in  the 
briefest  possible  manner, 
*iv  and  evolution 
of  this  branch  of  the 
si  ulptor's  .in. 

i  ipo 

carvings  were  wrought,  was 

derived    principally   from 

the    tusks    ol 

both  African  and  Asiatic  ; 

0 
tn   damp  and  air  and  the 
il   is  nun 

ble,  from 
tl        probab  [.—  , .,.,,  „ 


also  that  the  mammoth  (Elephas primigenius) — which 
still  not  unfrequently  occurs  frozen  in  the  swamps  of 
Northern  Siberia — also  yielded  some  of  the  material 
for  the  early  workers  in  ivory. 

Among  the  Scandinavians,  however,  the  walrus  was 
the  main  source  of  supply,  as  also  was  the  case  in 
Germany  and  Britain. 

It  is  difficult  to  explain  how  some  of  the  larger 
ivories  which  have  been  preserved  to  us  were  pro- 
duced, as  some  examples  measure  no  less  than  15  in. 


in    length    by  6 
much  as  .',  in.  thi 


GERMAN   w. 
06 


:i  breadth,  while  they  are  as 
jossibly  the  ancients  possessed 
a  method  of  bending 
ivory — a  secret  now  lost 
— since  no  tusks  could 
now  be  found  to  yield  the 
necessary  surface  for  the 
above   work. 

The  earliest  examples 
of  carving  are  to  be  found 
upon  the  antlers  of  deer, 
discovered  during  re- 
searches into  cave  life, 
which  are  r  e  m  a  r k a  b  1  e 
alike  for  their  excellence 
in  execution  and  their 
fidelity  to  nature.  Ivory 
was  largely  used  both  in 
Egypt  and  Chaldea,  and 
it  is  recorded  that  the 
buildings  of  J  erusalem 
were  ornamented  with 
this  ma  1  .rial,  Solomon 
having  a  throne  of  ivory, 
and  Aliub  an  ivory  house, 
whilst  the  phrase  "  out  of 
the  ivorj  palaces  "  must 
be  familiar  to  all. 
Among  thr  Greeks 

Statues   ol    wood    overlaid 
:y         with   thin   plates  of  ivory 


The  Medieval  Ivories  in  the  Liverpool  Museum 


XO.  II. — BOOK-COVER     GERMAN  WORK,  IOTH  CENTURY 

were  not  infrequent,  and  were  known  as  Chrisele- 
phantine ;  of  such  works  perhaps  the  best  known 
were  the  figures  of  the  Athena  Parthenos,  at  Athens, 
and  the  Olympian  Zeus,  both  of  which  were  from  the 
hand  of  Phidias. 

Among  the  Romans  ivory  was  not  used  to  any 
very  considerable  extent — at  least  tor  statuary — though 
we  are  informed  by  Pliny  that  Pasiteles,  who  nourished 


XO.  III. — BOOK-COVER    GERMAN  WORK,  IOTH  CENTURY 

■So  B.C.,  produced  a  statue  of  Jupiter  in  this  material, 
which  figure  was  preserved  in  the  Temple  of  Metellus. 
Subsequent  to  this  period  we  have  consular  diptyches 
up  to  the  sixth  century,  of  which  the  Mayer  collection 
contains  no  less  than  three  fine  examples,  out  of  a 
known  total  of  twenty-one. 

As  previously  mentioned  walrus  ivory  was  employed 
by  the  Northmen,  and  of  this  substance  a  number  of 


NE    TRIPTYCH    SHOWING    ORIGINAL    COLOURING 


The   Connoisseur 


lu 


%^MJ 


NO.    VIII. — APPLIQUE    FIGURE    OF    ST.    JOHN    THE    BAPTIST 


oen   wen    discovered  in    [831  in  the  island  of 
Lewis,  which  arc  preserved  in  our  national  museum. 

1    n   date    n    the    tenth    century,  of 

combs,   caskets,  and 
other  articles  carved  in  ivory  for  domestic  use. 

We  will  now  proceed  to  describe  in  some   detail 

1  I         1  ollection  which,  either 

from  their  antiquity  or  beauty  ol  design,  meritacloser 

n     will  endeavoui   to 

ological  sei  ;u<  nee 

Upo  :af  of  a  diptych,  apparently  executed  in 

i)  during  the  ninth  century,  is  carved  a  repre 

1  arefully 

.  whilst 
from  above  a]  p  d  hand  ol   God. 

The  companion  leal  to  thi 

now    in    the    1  1  illi  1  tion    at    South 
in.  by  2|  in. 

1  il  the  tenth 


century,  and  represents  St.  Peter  removing  from  the 
mouth  of  a  fish  the  tribute-money,  whilst  behind  are 
a  group  of  three  Apostles  and  the  Saviour  ;  the  whole 
design  is  surrounded  by  a  plain  margin,  whilst  the 
background  is  perforated  by  small  squares,  producing 
the  appearance  ol  .1  draught-board.  It  measures  5  in. 
by  4J  in.      (Xo.  ii.) 

The  following  panel,  from  the  cover  of  a  book,  is 
very  similar  to  the  preceding  one,  and  like  it  is  (  lerman 
work  ol  the  tenth  century.  The  margin  is  plain,  and 
encloses  a  picture  of  Christ  blessing  the  Apostles. 
The  background  is  perforated  with  a  cruciform  design, 
'The  ivory  measures  5  ,'„  in.  by  ■]':  in.     (No.  hi.) 

The    next    piece    is    a   rude   representation    of  the 

Nativity  executed  in  Morse  ivory,  probablj  in  England, 

and  is  approximately  of  the  tenth  century.     The  Virgin 

upon  a  narrow   bed  which  slopes  somewhat  to 

[0     ph  is   seated  m  an  attil  tide  1  'I 

deep    thought.      The   head    of    Mary    is   resting   on   a 

pillow  supported  by  a  female  attendant.      Beneath  the 

aviour    in  a  cradle,  whilst  above   llis 


The  Mediceval  Ivories  in  the  Liverpool  Museum 


•ROM     BOX    OF     UTH    CEN1 


figure  are  the  ox  and  the  ass.  This  specimen  was 
originally  in  the  possession  of  W.  H.  Rolfe,  Esq.,  of 
Sandwich.     Height  4§  in.  by  3!  in.     (No.  iv.) 

A  Byzantine  triptych,  in  a  remarkable  state  of 
preservation,  which  still  bears  traces  of  early  colouring, 
shows  us,  on  a  central  panel,  beneath  an  open-work 
canopy,  supported  upon  spirally  fluted  pillars,  the 
crucified  figure  of  Christ,  on  either  side  being  the 
figures  of  the  Blessed  Virgin  and  St.  John.  The  two 
leaves  bear  upon  them  three  half-length  figures,  the 
upper  ones  representing  angels,  the  middle  pair  St.  Paul 
and  St.  Peter,  whilst  beneath  are  an  Emperor  and 
his  son.  Panel,  6£  in.  by  5 \  in.  :  wings,  5,;  in.  by 
2i  in.     (No.  v.) 

The  central  panel  of  a  triptych,  of  Byzantine  style, 
is  very  similar  to  the  previously  described  piece,  but 
has  in  addition  the  half-length  figures  of  two  angels. 
The  canopy  surmounting  the  group — which  is  now 
much  injured — was  of  considerable  beauty.  This 
measures  6    in.   by   4   in.       (No.    vi.) 


NO.    IV. — ENGLISH    IVORY    OF    THE    IOTH    CENTURY 

Following  this  we  have  a  panel,  probably  from  a 
box  of  Byzantine  work  of  the  eleventh  century,  which 
is  divided  horizontally  into  two  portions.  In  the 
upper  section  are  representations  of  the  Nativity  and 
the  Adoration,  whilst  beneath  is  portrayed  the  Cruci- 
fixion. Above  the  whole  is  an  acanthus-leaf  border, 
upon  which  traces  of  gilding  still  exist.  Size  5  in.  by 
4 J  in.     (No.  vii.) 

No.  viii.  represents  in  relief  the  full-length  figure  of 
St.  John  the  Baptist  standing  on  a  platform  giving  the 
benediction  with  his  right  hand,  which  is,  however,  but 
slightly  raised,  whilst  in  his  left  hand  he  bears  a  roll, 
upon  which  is  written  in  (Ireek  the  words  :   "  BEHOl  D 

Mil     I   1MB  OF    GOD,    THAT    TAKETH    AWAY  Tilt,    >IN-  <  H 

the  world."  The  figure,  which  is  somewhal  too  tall, 
is  habited  in  a  large  gown  caught  in  at  the  waist  by  a 
girdle,  whilst  from  the  shoulders  there  falls  a  cloak  with 
a  richly  furred  border.  This  ivory  probably  belongs  to 
the  later  period  of  Byzantine  work,  and  is  affixed  to  an 
oblong  sheet  of  ivory,  which  is  modern.     1  [eight  8^  in. 


*&^ 


1SJT^^3= 


N©T^ANPQU^RI£S 


[The    Editor   invites    the    assistance   of    readers  of 
I   n     Connoisseur    Magazine  who  may  be  aide  to 

impart  the  information  required  by   Correspondents.'] 

Unidentified   Portrait. 
Sir, — I  enclose  a  photograph  of  a  portrait  by  Sir 
Peter  Lely,  which  has  lately  come  into  my  possi  ssion. 
i  '.in    you   give   me  any 
information  as  to  whom 
the  portrait  represents  ? 
I     am    afraid    I    cannot 
help    you  very  much,  as 
I    have    been   unable   to 
trace  the  original  source 
whence  the  picture  came, 
but  probably  from  some 
collection   in   Devon  or 
( !ornwall.    Noi  can  1,  on 

ml   ol    its    si/e,  well 

send  you  the  original  for 
inspi  i  i mim, 

I'i:  frame,  evidently 
original,  and  made  lor 
tlv  picture,  is  ol   carved 

■a 1.  gilt.    1  have  lately 

had  iln'  ;n'  nip  '  i  :aned 
and  fra  me  restored, 
Though  unsigned,  I 
think  there  is  Sit 1 1    di  iubl 

he   artist,   and    in 
niion    I   am    sup- 
ported   by   friends   who 
know    I 

and  win.,  aftei 
tlm  pii  ■  i  nined  those  at  1  [ampton 

Court.     The  flesh  tints  are  beautiful.     The  pit  ture  is 
It    i     possibl    thai    tlv   portrait   ma; 
iri  i'  i'  print    .ii     in  i  xistence. 
Thankin  ipation, 

faithfully, 
(Dr.)  1     VV, 

An    Ado 
;.     i  [-he  Second 

! 

rds    in    my  home,  a   little 


ENTIFIED      PORT 


picture  of  this  subject  that  no  connoisseur  was  able 
to  ascribe  the  painter  of,  and  looking  round  such 
galleries  and  collections  as  I  had  access  to,  and 
scanning  descriptions  of  pictures  in  art  journals  and 
the  catalogues  raisonnis,  I  met  with  nothing  that 
at  all  answered  to  the  delicate  handling,  the  firm, 
masterly  touch,  and  more  than  Venetian  force  of 
brilliant  gem-like  colour- 
ing, reminding  you  in 
their  purity  of  rubies  and 
turquoises. 

Several  conclusions, 
accurate  and  inaccurate, 
I  arrived  at  ;  hundreds 
of  persons  saw  it  without 
any  particular  apprecia- 
tion. It  was,  without 
doubt,  something  like 
three  hundred  years  old, 
although  pictures  born 
a  few  years  ago,  and 
already  sloughing  oil  or 
cracking,  have  nothing 
of  the  everlasting  youth 
and  vitality  which  cha- 
racterise  it ;  then  it  was 
quite  evidently  painted 
by  a  Dutchman,  who 
was  not  the  first  in  a 
long  succession  of  art- 
ists. He  had  clearly 
spent  many  years  of 
residence  and  study  in 
Italy,  and  finally  to  wind 
up  those  ol    my  conclusions    which    proved   correct,   it 

was  almost  certain  that  a  visit  to  an  art  gallery  in 
Amsterdam    or    Rotterdam    would   bring  me  face  to 
ith  .i\\  example  or  examples  of  the  work  of  the 
unknown  in 

vo  inaccurate  i  onclusions,  namely,  that 
the  winl.  had  suffered  in  two  ways,  hirst,  each  of 
the  centra]  figures,  crowned  with  actually  golden 
lone,  had  pitchball  eyes,  which,  not  unnaturally,  I 
ii  to  i  tout  hing  b)  a  vastl)  inferior  hand, 
who  had.  so  to  speak,  carelessly  effaced  the  original 
beaut}  ol  light  and  intelligence.    Then,  in  the  second 


Notes  and  Queries 


place,  the  fingers  of  the  Virgin  were,  in  my  opinion, 
too  taper;  this  might  have  been  caused  by  the  artist 
using  some  transparent  glaze  for  the  flesh  tints  on 
either  side  of  the  finger  bones,  through  which  the 
strong  light  shows  unobstructed  by  the  denser  bone. 
This  glaze  might  easily  have  been  rubbed  away  by 
generations  of  strenuous  cleaners. 

At  length  the  opportunity  occurred  of  visiting  the 
galleries  of  Holland  and  Belgium,  and  in  Amsterdam 
and  at  the  Hague  I  came  across  work  for  the  first 
time,  after  a  quarter  of  a  century's  careful 
which  was  by  the  same  hand,  but  by  no  means  of 
equal  quality,  and  the  long-sought  master  proved  to 
be  Franz  Francken  the  Second,  called  at  various 
periods  of  his  life  "  der  Jonge  "  or  "  den  Oude,"  to 
distinguish  him,  as  was  necessary,  from  his  father  and 
his  nephew.  Both  he  and  his  father  were  in  their 
time  Dean  of  the  Guild  of  St.  Luke  at  Antwerp,  as 
was  his  nephew,  I  believe.  His  sister  Isabelle  was  an 
artist,  who  married  Frank  Pourbus.  No  fewer  than 
thirty  Franckens  are  chronicled  as  painters  ;  it  seemed 
to  run  in  the  Flemish  blood  at  that  time.  Only  one 
or  two  attained  any  real  distinction  save  the  Second, 
who  bourgeons  out  and  rises  most  remarkably  from 
the  dead  level  to  which  his  relatives  safely  adhered. 

Nevertheless,  nearly  all  who  have  dealt  with  him 
have  either  confused  him  with  some  ignobler  relative 
of  the  same  name,  or  otherwise  done  him  a  most 
serious  injustice  by  representing  him  as  a  mere 
draftsman  of  accessories,  who  stooped  to  the  pour- 
trayal  of  heraldic  devices  and  mythological  trifles, 
or  the  grotesque  inventions  of  griffins  or  demons. 
Twenty-five  years'  reverent  study  of  my  one  example 
enables  me  with  the  utmost  confidence  to  clear  his 
memory  from  this  aspersion,  and  if  you  feel  inclined 
to  give  your  readers  a  copy  of  the  photograph  taken 
by  my  friend  Mr.  Ambler,  of  Manchester,  I  venture  to 
think  that  any  disinterested  person  will  declare  that 
so  very  human  a  man  as  the  one  with  whose  portrait 
you  favoured  us  in  the  description  of  the  King  of 
the  Belgians'  collection,  and  whose  work  was  so 
intensely  real  and  Frank,  would  be  the  most  unlikely 
to  waste  his  time  or  talents  on  a  witch's  dance  or  the 
interior  of  a  picture  gallery  with  the  most  servile 
copies  of  some  inferior  artist's  work  in  frames  that 
might  have  been  valuable  aids  to  a  carver  and  gilder. 

This  man  was  the  intimate  friend  of  Rubens  and 
Vandyck,  each  of  whom  painted  a  noble  portrait  of 
him  :  and  Vandyck  etched  the  one  by  Rubens,  whilst 
his  own,  which  was  bought  by  Lord  Dunstanville  in 
1.S24  tor  the  reasonable  sum  of  ^90  15s.,  was 
by  Hendriot  and  Pierre  de  J  ode. 

My  picture  is  on  copper,  strongly  backed  by  a  close 
network  of  wood-frame,  jointed  as  by  the  m 


I  i   mona  violin.      It   measures   approximately 

i(  in.  bv  11  in.  Only  one  art  expert,  so  fai  as  1 
know,  has  corre<  tl>  described  either  him  or  his  work, 

mil  that  is  the  unknown  writer  in  1  .an  lUSSe's  /  n  Versa 
Biography,  under  the  article  "Franz  Irani  ken  the 
Second."  He  informs  us  that  he  studied  in  Germany 
and  Italy,  making  the  acquaintance  of  Rubens  at 
Rome,  and   after   drawing   inspiration    from    the   work 

of  the  Venetians,  he  returned  to  his  native  town  of 
Antwerp — in  whose  galleries   I   could  find   no 
example  of  his  work — where  in  1605   he  entered  the 
Guild  of  St.  Luke,  of  which  body  he  was  made   I  lean 
in  1614. 

Trusting  that  these  few  particulars,  to  which  I  have- 
been  chiefly  incited  by  your  interesting  reference  and 
portrait,  will  not  be  regarded  as  impertinent  by  you 
or  your  readers, 

I  am,  dear  Sir,  yi  an  3  n  spei  tfully, 

Edward  Neild. 

1'  \l\  I  ING  BV  R.  l'l-  MBERY. 
Dear  Sir, — Will  you  kindly  ask  the  readers  of 
The  Connoisseur  Magazine  if  they  know  the 
English  landscape  painter,  R.  Pembery?  I  have 
in  my  collection  of  old  pictures  a  most  wonderful 
English  landscape  signed  "  R.  Pembery."  No  date, 
but  the  picture  is  of  the  time  of  Lawrence,  ( Gains- 
borough, etc.  I  cannot  understand  how  it  is  possible 
that  Pembery  is  in  no  book  of  painters,  for  the  land- 
scape I  have  is  liner  than  Hobbema,  Ruysdael,  and 
anv  other  of  the  greatest  masters.  For  the  honour 
of  the  English  School,  Pembery  must  be  discovered. 
The  architecture  of  the  farm  and  the  wooden  bridge- 
shows  a  view  in  the  South  of  England.  I  tried  main 
photos  of  the  picture,  but  without  success,  for  it  is 
all  over  so  yellowish,  and  it  has  never  been  cleaned 
nor  re-lined  (rentoilt).  Enclosed  photo  is  the  "  best" 
I  got.  Nothing  of  the  form  is  reproduced  (a  droitt  1. 
My  English  friends  (artists)  also  never  heard  of 
Pembery.  The  most  wonderful  English  landscape 
painter  unknown  !  No  doubt  but  The  <  lONNOISSEUR 
\l  \c\ .  im  and  its  readers  will  discover  him. 
Yours  sincerely. 

Edward  van  Spe  s  bri  n  <  k. 

Unidentified   Portrait  (Augi    i    Ni  mber). 
I  iear  Sir, — In  your  number  of  The  Conn 
\l\..\  ine    for    August,    Mr.  Cont    Michiel  asks  for 
information  inidi  ntified  portrait  (No.  1  1. 

1   have  no  doubt  but  that    it    is  of  Mar)    Robinson 
(■■  Perdita"),  and  though  difficult  to  assign   the  artist 
from    tins   photograph,   it    bears  the   look    ol  1  Gains- 
borough's, or  perchance  Allan  Ramsay's,  work, 
ithfully,  Harold  Mai  et,  < 


The   Connoisseur 


Km  igious  Prints. 

Dear  Sir, — Can  you 
assist  us  to  find  two 
prints,  one  Christ  Heal- 
ing the  Sic/;,  and  the 
other  a  religious  musi- 
cal picture.  They  are 
wanted  to  bind  up  with 
.1  ipi  i  ial  copy  of  The 
Imitation  of  Christ.  The 
si/.e  is  about  6  in.  by 
4!,  in.  It  it  is  impi  > 
ble  to  get  this  size,  we 
should  I"-  glad  to  have 
larger  pictures,  that  they 
might  be  reduc<  d  b) 
photography. 

Yours  truly, 

J.  !■:.  Cl  \n  ■ 

l\ll'l    N  I  II  II    D 

Col  \i  M  Hoi 
I  l|  \i:  Sir, — The  mi- 
ni mtified  country  house 
n  prod  need  i  n  T  11  E 
<  onnoissi  1  r  Maga- 
zine of  J  uly  is  the 
"  pavilion  "  at  1  laarK  111  - 
li\    a    banker    called    I  lope, 

Holland  bought  it.     tl   is 


back  view.      It    was    built 
from   whom   the    King   ol 
now  a   museum. 
me,  yours  truly, 

Vic  1  i>k  i.i    Stuers. 


William  Shayer's 
Descendants. 

Dear  Sir, — I  should 
be  glad  to  know  whether 
any  of  your  readers  could 
assist  me  in  ascertaining 
if  any  of  the  sons  of 
William  Shaver,  artist, 
of  Shirley,  Southampton, 
are  still  living,  and  what 
address  would  find  them. 

And  greatly  oblige, 
Yours  faithfully, 
A  Southampton  Man. 

German  Painter, 

"  Leiter." 
Dear    Sir.  — I    think 
F.  M.  L.  is  making  a  mis- 
take in  the  name.   There 
is   a    German    painter 
"  Sytei,"  also  called 
"Saiter"   (Daniel),    who 
painted    scriptural    and 
mythological  subjects. 
Yours  truly, 
E.  Stun  LING. 
Books  on   Papal  Coins,  Etc. 
Dear   Sir, — What    books   or   magazines   have   ap- 
leared    with   descriptive    reading   on     Papal    coins"-1 
Mso  books  on  military  badges,  buttons. 

Yours  faithfully,   K.  James. 


I    .-.  '    I  '       K.      I'l    Ml' 


The  Picture  Sales  of  1909 

There  seems  to  be  a  growing  tendency  to  crowd 
the  great  picture  sales  into  the  narrow  space  of  eight  or 
ten  weeks,  in  accordance  with  a  custom  which  is  not 
founded  on  anything  more  substantial  than  tradition  : 
proprietors  and  auctioneers  apparently  act  on  the  assump- 
tion that  pictures  sell  better  in  May  and  June  than  in 
March  and  April.  There  have  been  numerous  instances 
of  the  fallacy  of  this  theory,  but  nothing  seems  to  kill  it. 
From  November  to  the  last  week  in  April  there  was,  in 
London  at  least,  an  almost  complete  blank  so  far  as  either 
important  collections  or  fine  individual  pictures  were  con- 
cerned. The  commercial  wisdom  of  crowding  all  the  big 
sales  into  the  months  of  May  and  June  may  be  very 
seriously  questioned,  for  it  is  obvious  that  the  sudden 
glutting  of  the  market  in  this  manner,  if  it  does  not  affect 
the  great  pictures,  must  tell  seriously  on  those  of  a  lower 
tank  i if  importance,  which  indeed  form  the  bulk  of  every 
year's  transactions.  As  at  present  arranged,  the  dealers 
do  not  recover  from  one  heavy  sale  before  another  looms 
in  the  immediate  distance.  With  purchases  amounting 
often  from  ,£20,000  to  £40,000  in   a  day,  even  with  a 


By  W.  Roberts 


catalogue  well  filled  with  commissions,  main-  dealers 
must  find  a  difficulty  in  so  arranging  that  the  majority 
of  their  purchases  are  "placed"  before  the  next  consign- 
ment comes  in.  But  this  is  a  matter  for  the  consideration 
of  the  auctioneers  and  dealers  rather  than  the  public. 

That  the  before-mentioned  fallacy  is  real  is  borne  out 
by  the  fact  that  the  only  two  important  sales  held  in 
February  and  March  took  place  in  Edinburgh.  At 
Dowell's  rooms  the  collections  of  J.  Irvine  Smith  and 
John  Ramsay  (February  13th  and  March  5th  and  6th 
respectively),  consisting  of  pictures  by  Scotch  and  modern 
Dutch  artists,  produced  exceedingly  good  prices,  some  of 
which  were  record  ones,  so  far  as  regards  auctions  in 
England  and  Scotland. 

The  important  picture  sales  in  London  this  season 
have  been  unusually  few  in  number,  and  below  the 
average.  Last  year  seven  sales,  with  totals  of  up- 
wards  of  £10,000  each,  produced  an  aggregate  sum  of 
£  ;i  1. 1  v.  whilst  this  year  five  sales  alone  totalled  up  to 
the  enormous  amount  of  £360,334.  These  five  sales 
may  be  thus  tabulated  : — 


OWNEK. 


Character  m    cy>i  i  e<  u..\. 


Sir  John  Day  ... 
Sir  Cuthbert  Quiltei 
E.  H.  Cuthbertson 
H.  Gaskell     ... 
Sir  1.  I).  Milburn 


bail  11/.  hi  and  Dutch 
Ancient  and  Modern 
Early  English  and  Barbi; 
Modern  English 
Early  English  and  Model 


159 


Mm    1  ;    14  . 
My  9 
May  21 

June    10   II. 


Thai. 


L 

01,041' 

N7.-Sn 
7\)S" 
55,636 
41,506 


For  the  second  year  in  succession  the  honours  of  the 
season  fell  to  a  work  by  J.  M.  W.  Turner.  Last  year 
the   beautiful    Mortlake    in    the    Holland    sale    realised 


:,6oo  gns.  ;  this  year  Mr.  Gaskell 


example  of  the 


artist,  The  Burning  of  the  Houses  oj  I 

brought  just   100  gns.  less,  i.e.,   12,500  gns.     This  year, 

as  last,  a  number  of  examples  of  Turners   0 

sale,  and  the  prii  es  good  : 


Pictures  and  Drawings  by   I.  M.  W.  Turner. 


Title    \ 


l'i  1.  a    I: 


Burning  of  the  Houses  of  Parliament,  35  in.  by  48  1 
East  Cowes  Castle,  36  in.  by  4S  in.,  1S35 
Venus  and  Adonis,  61  in.  by  47  in.,  circa  1S06 
Windermere,  12  in.  by  IS  in.,  drawing,  circa  1835 
Kiisnacht,  Lucerne,  12  in.  by  19  in.,  drawing,  184; 


(iaskell 

1  htillcr 
I    ne  II 


12,500 
6,500 


The    Connoisseur 

Pictures  and  Drawings  by  J.   M.  W.  Turner.  —  Continued. 


Title  and  Size  and  Date. 

Sale. 

Price  Realised. 

[ngleborough  from  Hornby  Castle,  i  i  '.  in.  by  16  in.,  drawing,  1S1S 

Lucerne  from  the  Walls,  12  in.  by  iS  in.,  drawing,  1842        

Folkestone,  Twilight,  18  in.  by  26  in.,  drawing,  1824           

The  Devil's  Bridge,  31  in.  by  24  in.,  circa  1S15          

April  30       

Nettlefold 

Nettlefold 

Gaskell        

Guineas. 

1,300 

1,300 

1,000 

S60 

Curiously  enough,  this  season,  as  last,  the  second 
highest  price  of  the  year  was  paid  for  an  example  of  John 
Constable,  the  beautiful  Arundel  Mill  and  Castle,  27  in. 
by  37  in.,  which  in  the  Gaskell  dispersal  brought 
8,400  gns. — a  very  different  sum  to  the  75  gns.  paid  for 
it  at  the  artist's  sale  after  his  death.  Notwithstanding 
the  high  prices  of  last  year  and  this,  the  8,500  gns. 
paid  in  1895  for  Mr.  Huth's  Constable,  Stratford  Mill, 
remains   the   record.       One    other    Constable   occurred 


for  sale,  Professor  Bertrand's  1  'armouth  Jetty,  with 
boats,  27  in.  by  35  in.,  offered  on  April  24th,  and 
was  considered  not  to  have  reached  the  reserve  at 
1,380  gns. 

Although  the  supply  of  "old  masters"  has  not  been 
abundant  —  as  one  would  say  of  a  plentiful  crop  of 
apples— yet  one  of  them  ranks  third  in  the  scale  ot 
prices  paid,  and  so  we  may  group  them  together  in 
one  table  : — 


N  wti.  of  Artist. 

Title  and  Size  of  Picture. 

Sale. 

Price 
Reai  ised. 

Guineas. 

Rembrandt... 

Descent  from  the  Gov,,  ss  in.  by  42  in.,  1651... 

July  2      

7,800 

Murillo       

I111111 .1.  nl. He  Conception,  74  m.  by  53  in. 

Quilter     

4,Soo 

tez 

Mariana,  wife  oi  Philip  I\  .,  Ss  in.  by  47  in.    ... 

Quilter     

2,300 

V     M    L(   5         

:  old  Lady,  46  in.  by  34  in.,  1669 

Feb.  2      

2,0,0 

V  M  ■  -     

Portrait  oi  Lady  and  Gentleman,  45  in.  by  37  in. 

July  *    

2,150 

A.  Cuyp      

Town  on  a  River,  41  in.  by  52  in 

J"iy  2     

1,680 

... 

Pallavicino,  02  in.  by  47  in 

Quilter     

1,600 

1.   B.    Pater 

tie  with  figures,  10  in.  by  13  in. 

Throckmorton     ... 

1,450 

P.  Le  Sire 

Portraits  of  Lady  and  Gentleman,  33  in.  by  26  in 

,  ">37         ... 

Quilter     

1,040 

11   ... 

Island  near  Venice,  36  in.  by  43  in 

Quilter     

S60 

1.  ( >.  hterveldt        

1  'he  M  usic  Lesson,  57  in.  by  20  in 

Quilter     

S50 

Brun       

Portrail  ol  a  Lady  in  wdiite,  31  in.  by  14  in. 

J«iy  2     

90O 

The  fourth  highest  price  of  the  season— 6,400  gns. — 

lid    for    Sir    Cuthbert    Quilter's     beautiful    and 

unusual     example    of     Sir     Joshua     Reynolds,      Venus 

and    Cupid.     The     Early    English    school    of    portrait 

painters  form  an  important  feature  in  the  sales  of  the 


past  season  —  important  on  the  threefold  score  of 
quality,  number,  and  price,  six  pictures  exceeding  the 
highest  price  paid  last  year  ;  the  pictures  which  reached 
the  necessarily  arbitrary  limit  of  .£1,000  being  as 
follows  : — 


N  VME    1  IF    ART1     1  . 

1     ,  ,     lnd  Size  oi    Picti  re. 

Sale. 

Price 
Realised. 

Guineas. 

|     Reynolds     

ind  Piping  Boy,  50  in.  by  39  in.             

Quiltei     

6,400 

Sir  H    Raeburn     

Sn    |ohii  Mi'.el.ur.  04  in.  by  60  in.            

luly  16 

6,200 

■ 

j    14  in. 

Milburn 

5,200 

1 ..  Romney 

ickburne,  50  in.  by  40  in. 

Cuthbertson 

5,200 

lej 

Mi      \   ivbery,   |0  in.  by  is  in.    ...         

Cuthbertson 

5,100 

Sii  1.  Reynolds      

mi  do-  11.    ■                               by  40  in. 

Cuthbertson 

4,950 

G.  Romney 

1  in 

Quilter     

4,800 

si.  II.  Raeburn 

i  .  Blisland,  57  in.  by  44  in 

Inly  2      

3,400 

... 

ej ,   ji  1  in.  bi  25  in. 

Milburn    ... 

2,800 

1     Law  rem  e 

>.  25  in.             

■   I                                  (.0  in.  ... 

Milburn 

1,850 

. 

July  2      

3ii   II.  Raeburn 

■  i   \l»'vnc,  ;o  in.  bj   i' '  in 

Milburn 

1,600 

G.  1 

by  27  in 

I11W    10     

1,500 

.. 

Portrait  of  a  Lady,  50  in.  by  40  in. 

July  2      

1,45° 

... 

1     rompi      1  30  ii           ■ ;  in 

Milburn 

1.400 

il  .1  Lady,  jo  in.  bj  25  in.                              

Inly  7      

1,300 

Sir  II.  Raeburn 

Lady  Broughton,  35  in.  by  27  in. 

... 

1,150 

s  kins,   ;o  in.  by  25  in.   ...          ...          ...          

Behrens  

1,000 

1     ipwards  ol  £  1 
eleven   which  reached  that   limit  I  10m  this 

story  of] 


.1  wide  step,  but  we  may  conveniently  regard  it  here  as 
the  natural  sequence.  In  the  following  table  of  modern 
English  u  again  taken  ,£1,000  as  the  general 

bul  a  few  pictures  which  have  nearly  reached 
that  limit  are  also  included: — 


/;/    the   Sale   Room 


Name  of  Artist. 

Title  and  Size  i  >i    r 

Sale. 

Sir  II.  von  Herkomer 

The  Last  Muster,  82  in.  by  61  in 

Ouilter     ... 

Sir  1.  E.  Millais     

Murthly  Moss,  50  in.  by  7z  in. 

Quilter     ... 
Quiltei     .-. 
Quilter    ... 
Quilter     ... 

F.  Walker 

The  Bathers,  ;6  in.  by  84  in 

Holman  Hunt        

The  Scapegoat,  ;i  in.  by  55  in 

Sir  E.  Landseer     .. 

Midsummer  Night's  Dream,   12  in.  b] 

Lord  Leighton 

Cymon  and  Iphigcm.  .  1.1  :: 

Quilter     ... 

Cecil  La wson         

The  Donne  Valley,  41  in.  by  53  in 

D.  G.  Rossetti        

La  Bella  Man-,  62  in.  by  46  in. 

Quilter     .. 
Gaskell    ... 

David  Cox 

Flying  the  Kite,  iS  in.  by  28 in. 

David  Cox 

Outskirts  ol  a  Wood,  JS  in.  by   (6  in. 

Quilter     ... 

B.  W.  Leader        

Parting  Day,  44  in.  by  71  in. 

(  milter 
July  .6    ,.. 

Peter  Graham         

Evening  :    Highland  Cattle,  64  in.  by  48  in. 

D.  Cox        

Washing  Day,  17  in.  by  25  in.     ... 

Gaskell    ... 

B.  W.  Leader         

Green  Pastures,  44  in.  by  71  in.  ... 

Quilter     ... 

Sir  L.  Alma-Tadema 

Rose  of  all  the  Roses,  15  in.  by  0  in. 

D.  Cox        

The  River  Llugwy,  18  in.  by  25  in. 

Gaskell 

G.  Vincent 

Greenwich  Hospital,  28  in.  by  36  in. 

Quilter     ... 

Sir  E.  T.  Poynter  ... 

Under  the  Sea  Wall,  22  in.  bv  14  in. 

Quilter     ... 

I.  Phillip 

Selling  Relics,  62  in.  by  84  in.     .. 

Quilter     ... 

Sir  Luke  Fildes     

Return  of  the  Penitent,  52  in.  by  100  in. 

Gaskell    ... 

D.  Cox        

Counting  the  Flock,  23  in.  by  34  in. 

Gaskell    ... 

Sir  L.  Alma-Tadema 

Spring  Time,  34  in.  by  20  in. 

Garland    . 

3,100 
3,000 
2,900 
2,800 
2,400 

2,250 

2,250 
2,000 

,670 

,651 

,200 


The  sensational  feature  of  the  year's  sale  has  been  the 
vogue  of  pictures  of  the  Barbizon  and  modern  Dutch 
Schools,  and  even  the  high  prices  of  the  previous  two  or 
three  seasons  have  been,  in  most  cases,  completely 
eclipsed.  Curiously  enough,  and  as  an  illustration  of 
the  uncertainties  of  the  auction  room,  neither  the  highest, 
nor  the  second,  nor  even  the  third  or  fourth  highest 
price  of  the  season  fell  to  a  Corot.  The  honour  this  year 
has  fallen  to  J.  F.  Millet.  Early  in  May  last  one  of  his 
pictures,  DArrive'e  an  Travail  a  r.-lurorc,  realised 
.£10,000  at  an  auction  in  New  York,  a  Corot  brutight 
^6,000,  and  a  Troyon  upwards  of  ,£5,000.  Our  English 
sales  cannot  show  such  figures  as  these;  but  Sir  John 


Day's  little  Millet  picture,  The  Goose  Maiden,  heads  this 
year's  modern  French  pictures  at  5,000  gns.,  and  Mr. 
Cuthbertson's  example  of  Th.  Rousseau,  Tlic  Winding 
Road,  comes  second  at  4,600  gns.,  both  "record''  prii  es 
of  the  respective  artists  in  this  country,  whilst  fresh 
records  of  nearly  every  other  member  of  the  Barbizon 
and  modern  Dutch  Schools  have  been  established  this 
year.  The  following  table  contains  a  list  of  the  pictures 
which  fall  into  this  group,  and  which  have  either  reached 
or  nearly  reached  the  limit  of  four  figures.  The  works  of 
each  artist  are  grouped  together,  and  the  order  is  accord- 
ing'to  the  highest  price  reached  by  a  particular  picture 
of  the  various  painters  :  — 


Name  of  Artist. 

Title  and  Size  of   Pii  turf.. 

Sale. 

Rem  ised. 

Guineas. 

J.  F.  Millet             

The  Goose  Maiden,  13  in.  by  10  in. 

Day         

5,000 

T.  F.  Millet             

Le  Falaises,  37  in.  by  40  in. 

Milburn    ... 

1,100 

|.  F.  Millet             

La  Cardeuse,  35  in.  bv  22  in. 

VanEeghen 

I. coo 

Th.  Rousseau 

The  Winding  Road,  it>  in.  bv  25  1 

Cnthbcitsc.n 

4,600 

E.  Van  Marcke 

Cattle  in  a  Storm,  31  in.  by  45  in. 

(  uthbertson 

3,800 

M.  Maris 

The  Four  Mills,  9  in.  by  12  in 

Day          

3,300 

M.  Maris 

Feeding  Chickens,  14  in.  by  S  in. 

Daj           

3,000 

Ch.  Jacque 

Ch.  Jacque 

The  Flock,  32  in.  by  39  in. 

1  111  lib.  it  son 

3,200 

La  Bergere,  32  in.  by  25  in 

hi 

'.  i.  11 

Ch.  lacque  ...          

The  Shepherdess,  32  in.  by  25  111.            

Ch.  Jacque 

The  Shepherdess,  32  in.  by  25  in 

(    uthbeltson 

J.  B.  C.  Corot        

Landscape  with  Pea-ant,  10  in.  bv  22  in. 

(  uthbertson 

3,150 

J.  B.C.  Corot         

Chemin  de  la  Roues,  26  in.  by  20  in. 

m 

|.  B.  C.  Corot 

The  Ferry,  18  in.  by  24  in. 

Da5          

1.  B.  C.  Corot        

Une  Symphonic,  47  in.  by  33  in. 

Milburn 

1.  B.  C.  Corot        

Environ-  d'Arleux,  25  in.  by  17  in. 

Mil 11 

I.  B.  C.  Corot        

Entree  au  Village  de  <\.mbou,  iS  in.  h\    •  1    1 

J.  B.  C.  Corot       

Le  Coup  de  Vent,  18  in.  by  21  in 

I.  B.  C.  Corot 

Woodcutters,  2;  in.  by  32  in 

D  j 

J.  B.C.  Corot         

La  Chauinieres  des  I  lune-,   IS  in.   bv  22   in. 

1    . 

J.  B.  C.  Corot        

Souvenir  de  la  Villa  Pamphili,  15  in.  h. 

I.  B.  C.  Corot         

Souvenir  d'ltahe,  15  in.  by  24  in. 

Daj 

1.  Maris      

View  overlooking  a  Village,  50  in.  by  40  in. 

(  uthbeitson 

J.  Maris      

Near  Dordrecht,  iS  in.  by  20  in. 

f.  Maris 

Dordrecht  Cathedral,  21  111.  bv  30  in.,  drawing 

Day         

1.  Maris       

Dordrecht,  20  in.  by  24  in. 

Day 

1.  Maris      

j.  Maris      

The  Bridge,  20  in.  by  2.S  in.,  drawini 
Amsterdam,  17  in.  by  14  in- 

\  an  Alphen 

1,250 

I,2C0 

J.  Maris      

Low  Tide,  24  in.  by  20  in. 

1,151 

The    Connoisseur 


Name  ok  An  i  hi. 


Title  and  Size  of  Picture. 


I.  Maris 
J.  Man, 
J.  Maris 
Jules  Breton 
A.  Mauve   ... 
A.  Mauve   ... 
A.  Mauve   ... 
A.  Mauve   ... 
A.   Mauve 
A.  Mauve   ... 
\    Mauvi 

'■  " 

J.  Dupre  ... 
C.  Troyon  ... 
C.  Troyon  ... 
C.  Trovon  ... 
C.  Troyon  ... 
J.  Israels     ... 

I.  Israel,  ... 
J.  [sraels     ... 

i ',.  I  .  1  laubign) 
('.  1-.  Daubigny 
c.  F.  Daubigny 
C.  1-'.  Daubigny 

I  .  K  Daubignj 

I I.  1  larpignies 

II  Harpignies 
II     Harpignii 
11.  Harpignies 

11.  Harpignies 
N'.  Diaz      . 

N.  Diaz  ... 
V  Di 


Ploughing,  1 6  in.  by  29  in.  

nen  by  a  Stream,  22  in.  by  15  in.     ... 

Scheveningen,  21  in.  by  16  in 

Le  Goitter,  29  in.  by  47  in 

Troupeau  de  Moutons,  20  in.  by  36  in 

1  in  1     de  Bois,  22  in.  by  30  in.  ...         

Road  between  Two  Dykes,  19  in.  by  14  in. 
Returning  to  the  Fold,  17  in.  by  25  in.,  drawing 
Shepherdess  ami  Sheep,  12  in.  by  20  in. 
Shepherd  and  hi-  Flock,  iS  in.  by  24  in.,  drawing 

Return  of  the  Flock,  21  in.  by  18  in 

Tannage  an  Moid  du  Mare,  19  in.  by  29  in. 

La  Soulaire,  8  in.  by  1 1  in 

Cattle  by  a  River,  32  in.  by  45  in 

Cattle  in  a  Pasture,  20  in.  by  2S  in. 
Shepherd  and  Sheep,  16  in.  by  13  in.     ... 

( 'on.  Drinking,  10  in.  by  22  in 

Washing  the  Cradle,  30  in.  by  24  in 

Bonheur  Maternal,  29  in.  by  23  in. 
Portrait  of  a  Girl,  27  in.  by  21  in. 
Paysage  dans  l'Eure,  15  in.  by  20  in. 

Holds  de  Riviere,   II   in.   by  10  ill.  

I.a  Seine  a  Nantes,  15  in.  by  27  in. 

Les  Laveuses,  15  in.  by  26  in 

Harvest  Moon,  24  in.  by  43  in 

I.a  Loire  pie,  source,  57  in.  by  65  in.     ... 

Solitude,  37  in.  by  59  in 

Le  Moulin  de  la  Paine,  2S  in.  by  21  in 

I. a, 1  Days  of  Summer,  38  in.  by  64  in.  ... 
The  Mediterranean  Coast,  32  in.  by  25  in. 
Bords  de  la  Cance  aux  Loups,  24  in.  by  32  in.  ... 

In  the  Forest,  30  in.  by  38  in 

Three  Ladies  in  Oriental  Costume,  16  in.  by  13  in. 
The  Forest  of  Fontainebleau,  23  in.  by  28  in.   ... 


Day- 
Day 

Cuthbertson 
Garland   ... 
Day 
Day 

Cuthbertson 
Day 

Cuthbertson 
Van  Alphen 
Day 

Cuthbertson 
Cuthbertson 
Garland  ... 
Garland  ... 
Cuthbertson 
Cuthbertson 
Quilter  ... 
Day 

Van  Alphen 
Cuthbertson 
Day 

Cuthbertson 
Quilter  ... 
Day 

Cuthbertson 
Day 

Cuthbertson 
Milburn  ... 
Cuthbertson 
Day 

Cuthbertson 
Cuthbertson 
Cuthbertson 


Guineas. 

950 

900 

900 

2,700 

2,700 

2,020 

i,Soo 

'■35° 

1,050 

950 

900 

2,700 

1,000 

2-55° 

2,500 

2,IOO 

900 

2,250 

1,080 
1,000 
2,100 
1,800 
1.55° 


1,250 
1,150 
1,020 
900 
1,800 
1,650 
1-55° 


From  the  foregoing  tables  it  will  be  seen  that  108 
pictures  have  this  year  reached  four  figures — 16  others 
have  fallen  a  little  short  of  that  limit— whilst  last  year  the 
number  amounted  to  only  7-.  There  have  been  more 
than  the  usual  illustrations  of  good  investments,  ami  also 
of  bad  ones.  In  the  former  case,  the  most  striking 
collective  example  was  provided  by  Sir  John  Day's 
collection,  which  is  understood  to  have  cost  him  ^43,850, 
and  produced  a  total  of  Ai 4. 040.  Comparatively  few  lots 
..III  I'u  less  Mi. 111   Sir  John   Day  had  paid  for  them,  and 


■  nearly  all  went  for  sums  greatly  in  excess  of  the  original 
cost.  In  its  way  this  sale  is  unique.  It  was  formed,  for 
the  most  part,  some  thirty  years  ago,  when  the  demand  for 
pictures  of  the  Barbizon  and  modern  Dutch  Schools  was 
exceedingly  limited,  and  when  the  artists  were  quitecontent 
with  small  prices.  Some  of  the  more  remarkable  advances 
have  occurred  in  connection  with  pictures  which  have  not 
reached  the  minimum  of  ,£1,000,  and  which,  therefore,  do 
not  appear  in  the  foregoing  tables.  We  select  a  few  of  the 
most  striking  advances,  and  tabulate  them  as  follows  : — 


\     ii    01     \  1  1  1    1 . 


1  1 1 1  1    oi    Picture. 


Previous  Prk  e. 


I.  Constall 
I.  B.  ''.  Corot 

I.  I:.  C.  1 ' < 



II.  1 1  M 1  ii 

I.  1  [oppnei 

limit 

M.  Maris 



J.  F.  Mill 

) 

G.  Komi  . 

I 
1.   M.  W.  Turner   ... 

I.   M.  U      ! 

I.   M.  \\ 

I.   M.   W.  Turner  ... 


Mill  and  (  'a, tie 

Tin-  \\ Icutters 

flu     I     in  

Fl>ing  the  Kiu- 
Solitude 

... 

. 

I  1  .11,0  .  HI    1    atliedral 

.  Mills      

Feeding  Chicken,   ... 
1 

B  



■  en 

1  ' 
rj 

... 





P  rliament 


IS35, 

75  gn,.   ... 

£a'o 

43SO 

1S92, 

900  gns.  ... 

I  soo 

1S04, 

400  gns.  ... 

1SS7, 

[,350  gns  ... 

1 1 80 

/,I20 

/.'>oo 

[888, 

/■So    ... 

.887,  -.20    ... 

1 3.400  ... 

1840, 

: 

[899, 

[884, 

t88s, 

!■!■   "11  . 

[885, 

1904, 

1865, 

Price  in 

1909. 

Guineas. 
8,400 
1,450 
2,800 
1,670 


i,35o 

3,000 
2,700 
2,020 
i.35o 
5,000 
7, Soo 
;.ioo 
4,800 
2,000 
6,500 
4,000 
1,700 
12,500 


,  ,0 


«     ■ 


■/  -:i   , 


TRAIT  OF  THE   ARTIST'S   WIF1 
U.LAN    RAMSAY 

National  Gallery  oj  Scotland 


///    the   Sale    Room 


It  is  much  less  pleasant  to  write  of  the  "  falls  "  than  of 
the  advances,  and  so  it  must  suffice  to  state  that  [ohn 
Phillip,  J.  F.  Lewis,  John  Linnell,  sen.,  \V.  Collins, 
Erskine  Xicol,  E.  W.  Cooke,  and  Sir  E.  Landseer, 
are  among  those  artists  whose  pictures  have  shown  a 
more  or  less  marked  downward  tendency,  but  this  is 
a  fate  which  has,  in  two  or  three  instances,  overtaken 


even  Turner,  D.  G.  Rossetti,  and  Sir  John  Millais.  It 
ius  that  the  idols  of  one  generation  cannol  ill 
hipped  in  that  which  follows:  and  no  hard  and 
fast  rule  can  he  laid  down  with  regard  to  investments  in 
pictun  .iii>  more  than  with  investments  in  stocks  and 
:hare         The  collector  must  be  content  witha  fair  margin 

"I   |  M  i  'lit   mi   hi  -  i  olln  linn  .1  .  ,l   whole. 


The  BooK  Sales  of  1909 

The  auction  season,  which  commenced  early  in  the 
October  of  last  year  and  closed  with  the  final  days  of  July 
in  this,  hereafter  to  be  quoted  as  the  season  1908-9, 
owes  its  importance  to  the  sale  of  the  library  of  the  late 
Lord  Amherst  of  Hackney,  held  partly  in  December  and 
partly  in  March,  in  the  miscellaneous  sales  of  December 
17th,  March  iSth,  and  July  13th,  the  fine  collection  01 
manuscripts  sold  on  May  6th,  the  portion  of  the  library 
of  Lord  Polwarth  sold  on  February  15th,  and  the  library 
of  Lord  Dormer  which,  with  other  properties,  was  sold 
on  May  20th.  The  whole  of  these  sales  were  held  at 
Sotheby's,  and  to  them  must  be  added  the  Beaufoy 
Library,  the  sale  ot  which  commenced  on  June  7th  it 
Christie's,  and  was  continued  for  several  days.  The  total 
sum  obtained  for  these  eight  libraries  or  collections 
amounted  to  ,£76,722,  considerably  more  than  half  of  the 
grand  total  of  £  1 29,654,  representing  the  yield  for  the  entire 
season — the  product  of  some  36,000  "  lots  "  scattered  over 
fifty-eight  sales  of  the  better  class,  the  figures  disclosing 
an  average  of  ,£3  1  is.  iod.,  as  against  £2  13s.  id.  in 
1907-8,  and  ,£4  4s.  2d.  in  1906-7.  Such  is  the  position  of 
affairs,  and  it  may  be  said  at  once  that  it  is  not  of  a 
wholly  satisfactory  character.  Many  high-class  and  very 
expensive  bonks  changed  hands,  at  the  Amherst  sale 
especially,  and  an  enormous  mass  of  volumes  was  thrown 
on  the  market  from  first  to  last,  but  in  many  other 
respects  the  result  of  the  season's  book  sales  was  dis- 
appointing, at  least  to  some.  To  begin  with,  Shakespeare 
was  almost  a  negligible  quantity.  A  first  folic,  with 
three  leaves  in  facsimile  and  the  portrait  inlaid,  realised 
£800  at  the  Amherst  sale,  two  copies  of  the  Poems,  ot 
1640,  ,£91  and  ,£310  respectively,  a  volume  of  scarce 
tracts  containing  Pericles,  1635,  ,£415,  and  two  volum  is 
of  a  similar  character  ^345.  A  fourth  folio  brought 
£47,  and  another  .£38,  but  they  were  not  good  copies. 
Nor  can  A  Midsummer  Night's  Dream,  1600,  4to,  with 
several  leaves  in  facsimile  be  considered  cheap  tit  ,£25. 
Another  and  a  much  better  copy  sold  for  ,£65,  though 
this  does  not  actually  exhaust  the  Shakespeare  list,  for 
a  second  folio,  a  bad  copy,  of  course,  realised  ,£15,  and 
some  other  things  of  shreds  and  patches  similai  small 
sums  which  it  is  hardly  worth  while  to  enumerate. 

The  manuscripts  were  much  more  important,  though 
they  were  almost  all  mediaeval  service  books.  One  ol 
them,  a  Graduate  Romanian  of  the  thirteenth  century, 
for  which  Lord  Amherst  had  paid  ,£60  many  j  1 
realised  ,£1,650  at  his  sale,  while  Wycliffe's  original 
version  of  the  New  Testament,  written  about  the  year 


By  J.  H.  Slater 

1400,  made  ,£1,210  on  the  same  occasion.  The  sale  of 
May  6th,  previously  referred  to,  realised  ,{.8,056.  although 
there  were  but  67  entries  in  the  catalogue.  The  highest 
amount  paid  was  .£790  for  a  French  Horce  B.V.M.,  ad 
//sum  Romanum,  richly  illuminated  and  said  to  be  the 
work  of  Geoffrey  Tory.  Rolle  de  Hampole's  Ye  Prike 
of Consciens,  with  his  Treatise  written  for  a  Hermit,  the 
work  of  an  English  scribe  on  vellum  {circa  14051,  sold  foi 
,{,124,  and  the  D/tz  Moraulx  des  i'////oso/die\\  the  original 
French  version  of  the  Dictes  and  Sayinges,  written  in 
'473.  ,£240.  To  these  must  be  added  the  MS.  of  Burns's 
poem,  Ay  Waukin  "  0,"  dedicated  "to  Miss  Craig  with 
the  dutiful  regards  of  Robert  Burns,"  £1 10  ;  a  number  ot 
MS.  essays  and  prefaces  in  the  handwriting  of  Sir  Walter 
Scott,  123  leaves  in  all,  ,£250  ;  and  his  original  corres- 
pondence with  C.  Kirkpatrick  Sharpe,  consisting  of  67 
letters  covering  116  pages,  .£155.  We  can  in  a  measure 
imagine  the  appearance  of  such  manuscripts  as  these, 
and  readily  judge  of  their  importance,  but  it  is  far  other- 
wise with  illuminated  service  books,  which  are  really 
works  of  art  depending  for  their  interest  and  consequent 
value  upon  a  variety  of  circumstances  which  even  photo- 
graphic reproductions  often  fail  to  present  satisfactorily. 
To  say,  for  instance,  that  a  Missale  i/d  i/si/i//  Roman/////, 
22,  leaves  of  vellum  with  musical  notes,  an  illuminated 
diptych  and  three  small  miniatures,  realised  £285,  is 
to  convey  no  clear  impression  of  its  appearance,  even 
although  the  size  (8£  in.  by  ji  in.)  is  added  to  the 
description,  and  we  tire  also  told  that  it  is  commemora- 
tive of  the  Cornish  Saint  Winwallow.  ^Such  a  manu- 
script must  be  seen  before  it  can  be  appreciated,  foi  the 
peculiar  style,  as  well  as  the  quality  of  the  dei  orations, 
is  of  paramount  importance,  and  the  same  remarks 
apply  to  every  illuminated  service  book  which  exists. 
Many  such  manuscripts  were  sold  during  the  season, 
and  all  claim  lengthy  descriptions  followed  by  actual 
inspection  before  they  can  be,  as  it  wen-,  grasped  and 
made  to  live  in  the  mind's  eye.  Such  manuscripts  must 
therefore  be  passed  over  of  neces  it>  in  favour  of  printed 
books,  for  these  are  in  .1  measure  reflected  in  other 
1  opies. 

Coming,  then,  to  the  printed  bonks  we   no 

of  the  tn  t  edition  of  Walton's  Compleat 
Angler,  which  on  March  18th  realised  £1,085  .1  high 
but  unt  .1  record  price,  foi  the  Van  Antwerp  copy  sold 
foi    as    much    as   ,£1,29  0.      It   is 

;trange  that  a  little  bonk  published  at  eigh 
and  at   one  time  ( paratively  common,  should   have 


The   Connoisseur 


such  a  hold  on  book-lovers  of  to-day  ;  but  so  it  is.  The 
Amherst  sale  was  productive  of  the  highest  prices, 
as  may  be  readily  conceived.  One  volume  of  the 
Ma:, nine  Bible,  so  called,  though  circumspect  and  very 
precise  bibliographers  scout  the  title,  sold  for  .£2,050, 
and  a  block  book,  the  Apoca/ypsis  S.  Johannis,  printed 
in  Holland  about  the  year  1455,  /2,00c  Other  Amherst 
treasures  included  five  leaves  (only)  of  the  same  block 
book,  ,£150;  Aristotle's  Ethica,  the  second  book  printed 
ii  1 '.lord,  1479,  small  4to,  £150  (several  leaves  in 
facsimile);  St.  Augustine's  De  Arte  Predicandi,  printed 
by  Johan  Fust  in  1466,  small  folio,  ,£102  ;  Balbus  de 
Janua's  Catholicon,  Johan  Gutenberg  (?),  1460,  folio, 
^530;  Dame  Juliana  Berners's  Booke  oj  St.  Albans, 
printed  by  Wynkyn  de  Worde  in  1496,  £600;  Coverdale's 
Bible,  imperfect  as  usual,  no  complete  copy  being 
known,  £385;  Matthew's  Version  oi  the  Bible,  1537. 
folio,  £150;  The  Great  Bible  of  April,  1540,  /405, 
defective  though  it  was  ;  and  King  Charles  the  First's 
own  copy  of  the  Bible  of  1638,  bound  in  red  velvet, 
with  the  Royal  Arms,  as  much  as  .£1,000.  These  are 
large  amounts,  but  the  list  is  not  nearly  exhausted. 
The  editio  princeps  of  Cicero's  De  Officiis,  1465,  made 
,£700,  and  the  1466  edition  of  the  same  work,  .£290; 
the  first  edition  of  Foxe's  Acts  and  Monuments,  1562-3, 
title  and  two  leaves  in  facsimile,  and  another  copy,  very 
imperfect,  ,£120  the  two  ;  the  first  edition  of  the  Imitatio 
Christi,  printed  by  Gunther  Zainer  about  1471,  ,£200  ;  and 
the  first  edition  of  the  Opera  of  Laetantius,  1465,  ,£350. 
At  the  Amherst  sale  forty-seven  books  realised  ,£100 
each  and  over,  and  to  a  very  great  extent  monopolised 
the  list  of  rarities. 

At    Mr.  Cowan's  sale  on  November    2nd  last  year,  a 
collection  of  54  volumes,  all  original  editions  of  Dickens's 

sold  for  .£215  (morocco  extra),  and  Dr.  John 
Newton  has  some  good  books,  including  a  copy  of  the 
fii   1  edition  ol  the  Hypnerotomachia,  1499,  in  old  French 

u n,  £1  59,  and  Paradise  Lost,  with  Lowndes's  second 

title-page,  [667,  £115,  and  the  same  remark  applies, 
though  with  greater  force,  to  Lord  Polwarth's  selection 
sold  on  February  15th  and  following  day,  In  this 
ii  e  espei  iallj  notii  eable,  viz.  : 
■  ii/la/i/e,  [651,  sin.  410, 
,£245;  The  Atlantit  A'eptune,  2  vols.,  folio,  1780-I, 
a    work    containing    120    large    coloured    charts    of  the 

.11     Nova    Si  otia    and    tin     gull     rivers   of  the 

St.    Lawrence   foi    the   usi    ol    tin     Royal    Navy,   .£116; 

printed  by  Caxton  in  1490,  £330  (7S 

01  ly,      hi  mil    be    8  1    ;     /  ■    of  the 

oj   I  ondon,    122  vol    .    \\a,    ■  i<  14  (cf.  and 

hf.  cf. ) ;  .t ii>  i   the   Mercurim    Politicus,  in   11   vols.,  410, 

1650-60,  .£140.     The  most  important   work  in  this  list 

mi,  though    the   amount    paid    foi 

it  is  insignificant  when  compared  with  the  cost  of  I    1 

different  works  bound   together,  which  realised  £2,600 

on  May  2ist.     Thesi  b     Ca   ton,  and 

(,il  binding  ni  more  than  four  hundred 


years  ago.  A  third  Caxton,  sold  immediately  after- 
wards, is  represented  by  the  Royal  Booke  or  Book  for 
a  King,  1487-8,  and  for  that  ,£300  was  obtained,  although 
sixteen  leaves  were  in  facsimile,  and  five  had  been 
mended.  Lord  Dormer's  library,  or  rather  the  portion 
of  it  sold  on  May  20th,  was  remarkable  for  a  series 
of  twenty-one  volumes,  all  bound  in  red,  olive,  or  citron 
morocco  by  Clovis  Eve,  a  craftsman  whose  work  is  not 
often  seen  nowadays.  These  twenty-one  vols,  realised 
^390,  being  sold  together  in  one  lot,  though  they  were 
catalogued  separately.  It  is  necessary  also  to  mention 
the  Mozarabic  Missal  and  Breviary,  printed  at  the 
private  press  of  Cardinal  Ximenes  at  Toledo,  2  vols., 
1500-2,  which  realised  the  large  sum  of  .£1,250.  It  is 
said  that  only  twenty-five  copies  were  produced  for  use 
in  the  Mozarabic  Chapel  in  Toledo  Cathedral. 

Books  of  the  class  named  make  such  a  brave  appearance 
that  it  might  be  supposed  that  the  result  of  the  season's 
book  sales  was  satisfactory  in  the  highest  degree,  but  as 
previously  stated,  that  is  very  far  from  being  the  case. 
They  have  been  purposely  selected  from  among  the 
mass,  for,  naturally,  every  season  has  something  out  of 
the  ordinary  to  show.  The  list  might  indeed  be  very 
considerably  extended  without  in  any  way  straining  the 
position  it  occupies,  and  if  it  were  it  would  be  seen  that 
these  expensive  volumes  came  almost  wholly  from  the 
eight  libraries  and  collections  of  which  we  have  spoken. 
All  the  rest— fifty  or  more— were  productive  of  very  little 
from  the  particular  point  of  view  from  which  the  subject, 
as  a  whole,  is  being  regarded.  It  generally  happens 
that  one  special  class  of  book  dominates  the  sales  of  a 
season,  but  this  time  no  such  feature  is  observable. 
Works  of  a  high  class  relating  to  the  fine  arts  were  con- 
spicuously absent  ;  not  many  old  plays,  for  which  there  is 
such  a  great  demand,  are  observable  in  the  records. 
Shakespeareana  and  Americana  are  both  attenuated  to  a 
degree  ;  while  prices  generally  show  a  distinct  decline, 
when  once  we  get  away  from  early  examples  of  typo- 
graphy, early  illustrated  books,  bindings  by  celebrated 
craftsmen,  and  what  we  may  perhaps  be  permitted  to  call 
fashionable  books,  made  valuable  by  reason  of  their 
extreme  scarcity.  It  is  some  solace  to  reflect,  however, 
that  such  works  as  these  really  appeal  to  the  very  few,  and 
that  they  do  not  enter  into  the  paradise  of  the  ordinary 
bookman,  however  much  they  may  be  present  in  his 
dreams.  His  way,  at  any  rate,  is  clear,  and  during  the 
season  which  has  passed  he  had  the  opportunity  to 
acquire,  were  he  so  minded,  thousands  of  volumes  which. 
when  everything  is  said,  form  the  real  backbone  of 
English  and  other  literatures,  for  it  is  ,1  mistake  in 
i  dition  ol  almost  any  work  which 
might  be  named  is  nece  tril)  the  scara  I  <  Mi  the 
contrary,  tin  very  reverse  is  nearl)  always  the  case,  foi 
the  "111  maxim  still  holds  good  in  this  war  of  prices 
the  I"  it  books  are  tin-  cheapest,  made  so  by  the  law 
0!  supply  and  demand  which  never  fails  to  keep  the 
ialanci      n   eq    ■ 


It  was  Madame  Hortense   Montifiore  who,  within 

a  few  days  of  her  death,   presented   this  remarkable 
piece    of     lace     to     the     Musee     du 

,  Cinquantenaire  in  Brussels.     Measur- 

Kemarkable  ,  ,  ,        . 

Piece  of  Lace  ln§  r*  yards  b>'  ll  >'alds>  ll  waS 
probably  made  as  a  covering  for  a 
bed  of  state  or  for  a  cloth  on  the  occasion  of  the 
marriage  of  Albert  Archduke  of  Austria  with  Isabella 
of  Spain.  Their  arms  and  initials  appear  in  the 
design,   as   well   as   the  clasped   hands   which  are  so 


frequently  seen  in  lace  and  i  mbroideries  specially 
designed  for  wedding  gifts.  The  Archduke  governed 
the  Netherlands  from  159S  to  1621,  so  that  in  this 
example  we  see  one  of  the  earliest  bobbin-made  pieces 
of  very  elaborate  pattern. 

There  are  120  squares,  which  picture  with  varying 
elaboration  stories  from  the  Jewish  records,  from  the 
Xew  Testament,  from  lives  of  the  saints,  and  old 
legendary  history  of  the  Netherlands.  Amongst  these 
latter  the  four  suns  of  Aymon  perched   on   one  horse. 


The    ( 'onnoisseur 


LOWESTOFT    MUG 

;  p  :ar  in  the  first  and  last  rows. 

Several  times  Adam  and  Eve,  with  the  tree  of  life 
b  I  '  n  thi  in.  are  shown,  while  still  more  elaborate 
groups  ol  foui  .mil  five  figures  are  depicted  with 
telling    effect    in    the    tin)    squat  Hoi  :es    richly 

1  tparisoned,  elephants,  lions,  monkeys,  birds,  the 
pelican  in  her  piety,  and  other  emblematic  or  heraldic 
animals  are  to  be  found. 

II'     bordi  i    is  ol  extraordinary  beauty,  and  is  no 

I        '  haracteristic  vandyked  edge  of 

tin-   period  is  formed  by  means  ol   standing  figures, 

n     point   ol  the  scollop. 

d    kings    with    sceptre    and     regal     robes    are 

worked  ai  each  -  orn  r,  and    ;uperbl)   dres  i  d   figun  s, 

"''     different,   make    a    i  onl ou  :    proi  ession 

round  the   cover;  smaller  symbolic  figures,    such   as 

v   ■    t  crowned  heart, lit  trophy,  stand 

Mi   i     I  .    \.    J  \, 


Lowestoft 
Mug 


i 
and    in 

mug    h< 


■in  ns  ol    I  ow     ion   i  inn.,, 

i  with  int  Testing  surprises, 

is  direi  tion  th<    bell    hapi  d 

it    is   well   kno 


thai 


on   th      lit    Coa 

i    ,.i.     ,    cora 

i.l  Bow. 

opied,   but    instances  ol 


cil  any  kind  are  very  rare,  and  are  generally  found  in 
underglaze  blue  on  pieces  having  underglaze  blue 
decoration  in  conjunction  with  enamel  colours.  The 
pattern  ol  the  mug  possibl}  is  not  of  Plymouth  origin, 
as  similar  shapes  were  made  at  other  factories,  but 
that  it  was  copied  from  a  Plymouth  mug  is  quite 
evident,  as  it  bears  a  copy  of  what  is  known  as  thi 
"two  four"  mark  in  red  overglaze,  and  the  colouring 
of  the  decoration  is  bright  and  pleasing,  especially  the 
plumage  of  the  birds,  a  feature  noticeable  in  many 
examples  of  Plymouth  porcelain.  The  gilding  round 
the  rim  is  well  executed  and  ol  good  quality,  and  the 
potting  ol  the  mug  all  that  could  be  desired.  The 
paste  is  soft,  and  the  glaze,  which  is  quite  characteristic 
of  the  Lowestoft  factory,  is.  in  places  where  it  has 
thickly  settled,  of  a  clear  pale  blue  colour.  The  mug 
i  a  >  i\  interesting  specimen  and  well  worthy  of  the 
best  traditions  of  a  factory  the  productions  of  which, 
at  one  time,  were  the  cause  of  so  much  dispute. 
It  is  in  the  collection  of  Mr.  W.  C.  Woollard. 

On  the  opposite  page  is  a  full-sized  illustration 
(taken  from  the  advertisement  of  the  lottery)  of  one  of 
a  pair  of  fine  diamond  earrings  included 
in  a  lottery  by  a  well-known  London 
jeweller,  James  Cox,  of  Spring  Gardens 
—a  lottery  which  had  Keen  sanctioned  by  Act  of 
Parliament  to  take  place  in  1773.  They  had  been 
intended,  as  the  following  note  from  the  inventory 
will  explain,  for  Catherine  II.  of  Russia,  together 
with  her  bust  by   the  sculptor  Nollekens. 


Diamond 
Ea 


rinii    marl 


I      01      1  '  .\A  I      1  -1    1 


Notes 


"These  Earrings  are  to  ai  company 

a  bust  of  Her  Imperial  Majesty  the 
Empress  of  Russia,  and  were  intended 
to  have  been  sent  to  St.  Petersburg. 
They  are  by  far  the  most  capital  pan 
now  on  sale  in  Europe,  weighing 
44  carats  and  ra6ths  and  set  trans- 
parent. The  drops  alone  were  several 
years  in  matching,  which  they  do 
with  the  utmost  exactness.  They  are 
of  the  first  water,  finest  form,  ex- 
cellent proportion  and  most  beautiful 
lustre,  and  with  the  bust  of  the 
Empress  constitute  one  of  the  prizes 
in  the  Lottery  for  the  disposal  of  the 
museum  in  Spring  ( hardens. 

"N.B. — There  are  in  the  Lottery 

•  DIAMON 

two  tickets  of  every  number,  for 
instance,  No.  iA,  No.  iB,  and  so  on  to  60,000,  thus 
by  duplicate  numbers  there  will  be  duplicate  prizes  ; 
every  number  therefore  which  is  a  prize  in  class  A 
will,  of  course,  be  a  prize  in  class  B,  and  Mr.  Cox 
particularly  stipulates  for  the  two  numbers  entitled 
to  the  earrings  and  their  fellow  prize,  that  if  the 
possessor  or  possessors  of  one  or  both  shall  be 
inclined  to  dispose  of  them,  they  for  each  shall 
receive  five  thousand  pounds,  or  ten  thousand  pounds 
for  the  two,  from  Mr.  Cox  or  his  representative." 

The  earrings  and  the  bust  are  glowingly  described 
in  the  advertisement  thus:  —  "A  bust  of  her  Imperial 
Majesty  the  Empress  of  Russia,  with  brilliant  orna- 
ments, constituting  one  prize,  for  which  the  fortunate 
adventurer,  if  inclined  to  sell,  may  receive  five 
thousand  pounds  from  Mr.  Cox  or  his  representatives. 
This  bust  of  her  Imperial  Majesty  Catherine  I 
present  Empress  of  all 
the  Russians,  was 
modell'd  for  Mr.  Cox  by 
that  celebrated  English 
artist  Mr.  Nollekins, 
from  an  original  portrait 
in  the  possession  of  his 
Excellency  Mon.  Mou- 
schkin  Pouschkin,  the 
Imperial  Russian  Am- 
bassador at  this  court, 
and  is  esteem'd  a  strik- 
ing likeness  of  that  great 
princess.  The  brilliant 
ornaments  that  accom- 
pany the  bust  are  a  pair 
of  the  richest  earrings 
that  have  f  o  r  man  y 
years  been  seen   in  this 


kingdom,    and   are    by   far   the    most 
capital  now  on  sale  in  Europe;  they 
weigh    1 1    1  aral      ^th  .   and 
transparently  ;  the  drops  alone  were 

1    years     mati  hin 
time  when  the  diamond 
poured  in  upon  us  more  abundantly 
than   they  ever  did,  or   probi  b 

will  again.  They  are  as  incomparably 
fellowed  as  il  cut  from  one  divided 
thi  j  are  of  the  first  and  purest 
christaline  wati  r,  0 
the  nicest  proportion  and  the  most 
I"  autiful  lustre  :  and  when  an 
tagi  mis  01  casion  offers  for  the  sale 
ol  such  a  pair,  will  entitle  the 
iRRING  possessor    (it    disposed    to    part    with 

them)  to  a  price  far  exceeding  the 
present  estimation  of  them,  tho'  they  are  now 
estimated  at  ^5,000.'' 

No  explanation  is  given  why  they  were  not  sent  to 
Catherine  II.  Nollekens  appears  to  have  executed 
the  bust  of  the  Empress  by  her  direct  command,  a 
well  as  no  fewer  than  twelve  marble  busts  ol  the 
English  statesman,  Charles  James  Fox,  to  givi  awa) 
as  presents.  Such  was  her  admiration  of  his  great 
abilities  that  the  bust  sent  to  St.  Petersbui 
placed  between  the  busts  of  Cicero  and  Demosthenes. 
We  havi  failed  to  find  any  reference  to  the  bust  of 
the  Empress,  done  by  Nollekens  to  thi  order  ol 
James  Fox,  in  the  well  known  work,  Nollekens  and 
his   Times,  by  J.  T.  Smith.     E.  Alfred    I 


on   .,,1    English   Delfi 
in,  and   in   date  aboul 

7S4,    IS    the     \     ,       ,,:     Ol 

alloon^  Then    ire  two 

figures  in 

ih.     cai 
in  quaint 
eighteenth   century  cos- 

liiuie,  and  the  I'nion 
Jack  is  shown  as  living 
from  1  li  c  i';i  r.  In 
printed  ware  ol 
the  same  date,  ii  is  fre- 
quently noticeable  that 
1  has  chosen 
his  medium  to  1 
curi    nt    events    likel) 


A.  Ball 
Plate 


The    Connoisseur 


SS.  Gic 

e   Paolo,  Venice 


mutters,  such  as  the  Iron  Bridge  over  the  Wear  on  the 
Newcastle  and  Sunderland  mugs  and  jugs,  and  great 
naval  and  military  victories,  as  in  the  series  of  Nelson 
jugs  and  in  the  Worcester  King  of  Prussia  mugs  ;  but 
in  Delft  ware  he  usually  confined  himself 
to  decorative  subjects,  largel)  dependent  ^ 

on  Chinese  motifs,  so  that  a  plate  such  ._';•-> 

as  we  illustrate  isexi  eptionally  interesting 
on  account  of  its  attempt  to  compete 
with  the  transfer  printer.— A.  H. 

Iiu  great  Gothic  church  of  SS.  Gio- 
vanni e  Paolo  contains  in  its  great  lectern 
a  very  beautiful  and  per- 
The  Eagle  of  fectly  unjque  example 
of  chinch  furniture.  The 
church  was  nearly,  if 
nut  quite,  completed  b)  the  <  lose  of  the 
fourteenth  century,  when  the  tombs  of 
the  Doges  Mil  hele  Morosini  ami  Vernier 
wen-  si  i  u)),  ami  this  lei  tern  may  perhaps 
belong  to  that  date.  It  has  been  assumed, 
perhaps  too  hastily,  that  on  account  of 
the  ile-,k  being  supported  by  a  double- 
headed  eagle,  the  cognizance  of  tin-  ( lerman  emperors, 
the  lectern  is  of  German  manufacture.  It  is  true  the 
details  of  the  pedestal  might  very  well  accord  with 
this  theory,  and  there  is  an  utter  absence  of  any 
Renaissance  feeling  in  the  work  such  as  might  have 
been  expected  in  a  purely  Italian  design  of  tint  period  ; 
but  the  Venetians  were  nut  sufficiently  in  love  with 
German  emperors  thus  to  exalt  their  emblem  in  one 
of  their  great  churches,  even  it  a  presentiment  of  what 
was  in  store  for  them  in  future  ages  had  nut  prevented 
such  an  accident.  The  idea 
ol  the  two-headed  Venetian 
:  .  derived  from  the 

same  source  .1  i   I  hal    "I    ill 

1  ri  1  man    one      it    was    in 
0  typify  their  lord- 
hip  o\   r  the  empires  of  the 

w  •  ;t,  foi  aft  1  ili 

0     1  mm  /.mi  inopl 

is,  with  the  a    is 

he  \  enetians,  the 

Do  timed    i  monj     hi 

other    titles,    "  I  .mil     of    a 

quart  i  anil  half  a  quarter 
of    th-     Rum, in     Empire." 
11  which  this  lec- 
tern  was   probabl 
synchronized  with 

towards    th      I      I       i 


ildi: 


miMikliivjs  , 


A  French 
Reliquary 


m: 


1386,  only  six  years  after  its  successful  emergence 
from  its  death  struggle  with  ( >enoa,  Corfu  was  annexed 
to  Venice.  The  eagle  is  well  modelled,  and  all  the 
id  decorative  details  are  delicately  worked; 
und  as  the  whole  desk  stands  7  feet  in 
height  it  forms  a  remarkable  feature  in 
the    church. — J.   TavENOR-PekRY. 

It  is  difficult  to  appreciate  the  causes 
at  work  which  have  made  it  possible  for 
so  much  beautiful  wood- 
work from  the  churches 
of  the  north  of  France, 
possessing  little  or  no  intrinsic  value,  to 
have  drilted  into  collections  and  museums 
outside  that  country.  The  Victoria  and 
Albert  Museum  obtained,  by  purchase, 
a  large  quantity  of  such  woodwork  in 
t,S()4,  which  had  been  gathered  together 
by  the  late  iM.  Peyre.  It  is  unfortunate, 
however,  and  detracts  much  from  the 
value  of  such  a  collection,  although  per- 
haps consequent  on  the  manner  in  which 
such  works  are  often  obtained,  that  there 
is  no  record  of  the  building  or  place  from  whence 
the  object  was  removed,  or  indeed  any  facts  in  refer- 
ence to  it  which  would  so  much  add  to  its  historical 
interest.  This  is  particularly  to  be  deplored  in  the 
1  ase  of  the  small  chasse  or  reliquary  which  we  illus- 
trate, which  is  not  only  an  exceedingly  good  specimen 
of  the  simpler  wood  and  metal  work  of  the  period 
to  which  it  belongs,  but,  judging  from  the  remains 
of  the  paintings  with  which  it  was  decorated,  at 
one  time  contained  important  relics.  It  is  of  oak 
with    iron    doors    at    each 


end  and  simple  iron  crest- 
ing, ami  is  in  a  rather 
knocked-about  condition. 
Each  side  of  the  top  has 
the  remains  of  a  painting, 
the  one  showing  in  our 
illustration  being  assumed 
to  represent  a  visit  of 
St.  Anthony  the  Abbot 
to  St.  Paul  the  Hermit 
in  the  desert,  who  is  being 
led  by  a  raven.  Its 
dimensions  are  almost 
diminutive,  being  only 
1  j  in.  by  I)'  in.  and  1  7  in. 
high  ;  it  is  assigned  to  the 
1  ml  oi  the  fifteenth  cen- 
tury, and  was  pun  h  ISed  foi 
i  IT.  P. 


Notes 


THE  painting  by  Goya  reproduced  measures  6  ft.  5  in. 
by  3  ft.  9  in.     It  is  a  life-size  whole  figure  of  the  duchess, 
who  is  attired  in  a  pale-rose  robe  of  silk, 
at  the  bottom  a  garland  of  roses.     She  is 
seated 


A  Goya 
Portrait 


sofa 


if  blue  silk 
with  gilt  wool  frame  ; 
on  h  e  r  shoulders  a 
white  silk  shawl.  Her 
hair  is  of  a  dark  brown 
colour.  She  holds  in 
her  lap  her  little 
daughter,  about  one 
year  old.  The  baby 
is  entirely  in  white 
silk,  and  has  seized 
some  of  the  flowers 
which  her  mother 
holds  in  her  right 
hand.  The  baby's 
hair  is  of  a  light 
blonde.  The  por- 
traits are  beautifully 
expressive,  and  the 
colours  are  very  har- 
moniously distributed 
all  over  this  remark- 
able masterpiece. 

The  picture  has  been 
in  the  possession  of 
Marquis  de  Corvera, 
in  Madrid,  from  whom 
it  passed  into  the 
collection  of  Count  de 
Pastre,  in  Paris;  now 
it  is  owned  by  Mr.  F. 
Kleinberger,  in  Paris. 

On  the  bottom  ot 
the  picture  is  the  full 
name  of  the  duchess 
and  of  her  daughter, 
as  seen  in  the  repro- 
duction, and  the  date 
of  birth  of  the  baby. 
From  the  latter  it 
can  be  concluded  that 
Goya  painted  this 
beautiful  picture  in 
1788. 

It  is  described  in 
Valerian  von  Loga's 
Lafond. 


Rarely  within  our  knowledge  has  a  collection  of 
such  surpassing  interest  appeared  in  London  as  that  ot 
,  r  „      .  the    ancient    Chimu  pottery   recently 

A  Collect.on  of        excayated   b     Mr   T    Hewiu    M     ;ng 
Lhimu  Pottery  ,  ,  ,     ,  , 

in    Peru.     The   vessels  are   probabl) 

the  most  antique  in  existence — 5000  B.C.  being  generally 
accepted  as  their  date.     Some  are   beautiful  and  some 


grotesque,  but  the  whole  collection  of  modelled  and 
painted  figures,  animals,  birds,  deities,  and  ini  idi  nl 
give  the  observer  more  than  a  mere  idea  of  the  habits 
toms  of  an  interesting  prehistoric  race.  The 
modelling  is  wondei 
fill,  the  (hawing  is  firm 
and  unhesitating,  the 
colours  harmonious. 
The  collection  num- 
bers between  ;■  ••  <  and 
ind  bowl  ;. 
Some  of  the  latter 
have  false  bottoms, 
and  contain  in  the 
hollow  space  silver 
and  copper  money. 
WhiUt  all  the  metals, 
excepting  gold,  which 
01  caMonalh  decorated 
the  vessels,  have 
entirel)  1  orroded,  the 
earthenware  with  its 
thick  glazing  is  fresh 
and  uni  hanged.  The 
1  olli  1  tion  is  more  than 
wonderful,  and  must 
be  seen  to  be  appre- 
ciated. Sir  Clements 
Markham  is  right 
when  he  says,  in  his 
recent  letter  to  the 
Standard,  that  the 
I       Bl  itish  Museum   is  its 

] 


"  The   Romance 
of  Fra  Filippo 
Lippi,"   by 
A.  J.   Anderson 
(Stanley,  Paul  & 
Co.,  tos.6d.net) 

I  n  this  "new  ver 


I  of    the    lot  e  1  1 

I  the  friar-artist  and  the 

I  nun    Lucre 

I  enthusiastic  admirerof 

mk  ;;t""""1k 


e  and  yet  intensely 

REZ    DE    TOLEDO    AND    HER  human    alt     ol     Fra 

.a  Filippo  Lippi   applies 

to  the  gayfriai  that  process  of  whitewashing  which  is 
the  unavoidable  fate  of  all  great  persons  in  history 
whose  weaknesses  of  character  have  left  a  stain  upon 
theii   traditional   image. 

itely  Mr.  Anderson,  in  endeavouring  to  pre- 
sent  history  in  the  form  of  romance,  or  to 
romance  from  historical  tacts,  falls  thl 

stools  ami  gives    us  neither   facl    nor  fiction.      His   whole 
,11  what  detinue  knowledge  we  have 


of  the  life  of  Fra  Fi 


ia  Buti.     I 


The    Connoisseur 


facts  he  tries  to  trace  his  hero's 
psychology  and  the  motives  for 
his  actions.  He  also  tries  to 
create  a  background  of  fifteenth 
century  Italian  colour.  But  to 
accomplish  the  difficult  task 
of  making  the  dead  past  live 
before  our  eyes,  he  lacks  the 
marvellous  knowledge  and 
power  displayed  by  the  Russian 
Merejkowski,  who  has  treated 
the  life  of  Lionardo  da  Vinci 
from  a  similar  point  of  view  in 
In,  Forerunne)  :  or,  more  re- 
cently, of  Mr.  Fred  Manning, 
who  in  his  Scenes  and  Portraits 
mind  ba<  k  upon 
past  civilisations  with  analmost 
visionary  powei  of  realisation. 
Mr.  Anderson  remains  hope- 
lessly twentieth-century.  His 
t.ilks  cm  art  are  of  the  kind  that 
may  he  heard  at  any  moment 
in  the  studios  of  Chelsea  and 
Si.  [ohn's  Win  ill  ;  noi  i  in  we 
i  thetii  indgment  of 
a  critic  who  see-  m  Mr.  Walter 
Crane  and  Mr.  Arthur  Rack- 
ham  the  lineal  descendants  of 

i-  ilippo  i.ippi : 


.„|i 


lace  gi 


"Lacis"  ' 

ByCari,a  Filet    Brode1 

(S.  Low,  "Ul     l,""i' 

Marston  &  Co.  '"'  ,l"n,n-  "■' 

.os.6d.net)        m'L    "icgi-eat 

tren   th    and 

durability  ol  I.  u  is.and  the  fact 

tli  ii   repi  ated  washings  in  no 

way  diminish  its  beauty,  must 

ctors  in  ii  i  popu 

larity,  which  remains  undimin- 

•  ■  the   Middle    \  ■- 

In  '    1 I,   ".«   toute     Dames  et 

I   .      brought  to- 
facts  which  throw  .,  light  on  the 
antiquity  ol   netting.     In   Chaldoca,   whi  re  th«  re   wa  \  an 
ol  !■     ypt,m  i  pa 

on   Babylonian  and 
1 

I  i11   I ., 

1  known 
ulptured  robes, 
the  netted  In  .; 

b 

I  I     I'M  ll 


was  considered  as  a  symbol  that 
guarded  the  soul.  According 
to  Professor  Petrie,the  net  pat- 
tern is  found  in  Egypt  during 
the  I2th  dynasty,  which  corres- 
ponds to  130  B.C., and  it  became 
more  general  in  the  iSth 
dynasty.  Altogether  Lacis  is  a 
hook  which  will  interest  those 
women  who  wish  to  master 
the  technicalities  of  one  of  the 
oldest  forms  of  lace-making, 
and  who  also  take  a  delight  in 
the   history  ol   a   handicraft. 


^ 

Ik. 

Frei 

ERIC 

K    . 

ARTHUR 

Cr 

SP, 

w  h  0 

has 

pr 

,di 

ced 

Me 

norial  R 

ngs 

se\ 
te 
bo 

era 
oks 

111- 

(F. 

£2 

A. 

2S. 

Crisp 
net) 

,  es- 

pecially  on 
armorial  china,  may  be  sup- 
posed to  know  just  what  his 
public  needs.  Otherwise  one 
must  own  that  his  latest  book, 
Memorial  Rings,  Charles  II. 
to  William  I  V .  (privately 
printed),  1  50  1  opus  onlj .  ap- 
pears almost  as  a  work  of 
supererogation.  Perhaps,how] 
ever,  there  remain  1  ;o  persons 
interested  in  this  lugubrious 
subject.  1 )  eath  a  ml  bank- 
ruptcy are  things  which,  alas! 
often  befall  one's  friends  ;  but 
society  does  not  consider  them 
very  good  form,  and  a  ring 
which  would  commemorate 
either  e\ents  woul  il  not  1> 
much  liked  nowadays.  Her 
Majesty  the  late  Queen  m.i\  be 
said  to  have  been  the  last  great 
exponent  of  the  mortuary  cult. 
"lacis"   !>\    i\i-rr\  But  of  recent  years  more  philo- 

soph)  is  shown.  The  ring  .is 
a  reminder  of  death,  which  may  be  said  to  have  begun 
herewith  Richard  11.'-  bequests,  and  was  most  popular 
aftei  the  death  ol   Charles  I.,  has  passed  away. 

Mi^t  people  remember  that  among  the  Ii  faci  0] 
indmothei  were  dozens  ol  quite  in<  upensive  and 
unattractive  memorial  ring  which  had  come  down  from 
the  eighteenth  century.  Ii  is  with  such  purelj 
inn  es  thai  Mi  '  1  p  deal  very  largely,  for  In  -  1  ol- 
il  important  or  earl)  specimens  does  not  appear 
extensive.     It  is  tun-  thai   his  elaborate  1  atalo  ;ui 

-"in.-    ie    .  sample ;,    ami    that    he 

on    iome  well-known  rings, 

.11  .,1    In    I',,  icess  Mm  :lia,  01  the  si  holar  Hody, 

or  Simon    Frazer,   01    Lord    Lovat.      But   notwithstand- 

linstal    n     labour,  which  reproduc  es  all 


Notes 


the  inscriptions  on  the  rings  verbatim,  and  the 
notes,  which  include  abstracts  from  registers  of  burial, 
monumental  descriptions,  abstracts  ot"  wills  and  bio- 
graphical memoirs  and  so  forth,  it  does  not  seem 
probable  that  collectors  of  to-day  who  are  -aided  by 
cheery  and  aesthetic  reasons  will  become  attached  to  the 
branch  of  connoisseurship  to  which  this  bulky  and  hand- 
some volume  is  devoted. 

M.Arnold  GO)  i  in  has  steeped  himself  in  Franciscan 

lore.       He    has    not    only    studied    the    Fioretti   oi    the 
Poverello,  the  Speculum  perfectionis, 
"St.   Francis  an(j   ai|    t|le   literature    bearing   upon 

in  Italian  the    5Ubject,    he   has    not    only   made 

Legend   and  himself    personally   acquainted    with 

.  r  '  .  .  ^   rr  tne   vast   succession   of  frescoes   and 

Arnold  Goffin  .          .           , 

,_            _              .  altar-pieces  from  pre-diottesque  days 

(G.  van  Oest  and  ,        ,      ,.    .          ,             .-    ,       , 

„       „           .   .  to  the  declining   davs   ot   the   Ren.us- 

Co.,  Brussels)  ,                  ,          -             ,   , 

sance  that  have  been  inspired  by  the 

veneration  of  that  most  humble  and  lovable  of  all  saints, 

but   he   has    followed    St.    Francis's   footsteps    from    his 

parental  home  in  Assisi  to  Perugia,  where  he  was  kept  a 

prisoner  of  war,  to  Foligno,  where  he  sold  his  father's 

horse  to  aid  the  poor  priest  of  St.  Damian,  to  the  rugged 

heights  of  the  Apennine,  to  La  Verna  where  he  received 

the  Stigmata  ;  and  he  has  painted  a  fitting  background 

for   the    picturesque    figure   who,   together  with  Dante, 

exercised    the    most    powerful  influence  upon  mediaeval 

thought. 

St.  Francis  has   done    far    more   for  art  than  merely 

supply  generations  of  painters  with   fascinating  subjects 

for  the  exercise  of  their  skill.     It  is  not  too  much  to  say — 

and  M.  Goffin  lays  great   stress   upon   this   point— that 

his  teaching,  his  regeneration  of  the  Christian  ideal,  his 

substitution  of  action  for  the  word  or  formula,  his  intense 

human  emotionalism,  created  a  new  art :  he  turned  the 

painter's  mind  towards  Nature.     It  Cimabue   and  Giotto 

broke  away  from  Byzantine  hierarchic  stiffness  and  laid 

the    foundations    for  modern  art,    this   must  to  a    great 

extent  be  ascribed  to  the  influence  exercised  upon  their 

mind  by  the  teaching  of  i lie  Poverello. 

An  important  catalogue  is  in  preparation  by  Mr. 
Rudolph  Lepke,  Berlin,  of  the  print  collection  of 
the  Freiherr  Adalbert  von  Latin,  of 
Prague,  which  was  sold  this  season 
in  Stuttgart.  The  catalogue  will  have 
a  preface  by  the  Director  of  the  Berlin  Kunstgewerbe 
Museum,  Prof.  Dr.  von  Falke,  and  will  contain  about 
eight  hundred  reproductions  in  phototype. 

The  portrait  of  Mrs.  Allan  Ramsay,  by  Allan 
Ramsay,  in  the  National  Gallery,  Edinburgh,  is 
generally  ai  <  epti  d  .is  the  inn  si  ol  the 
many  able  portraits  painted  by  the 
artist.  Though  Ramsa)  never  reached  the  highest 
rank  in  bis  profession,  the  most  casual  examination 
of  his  work  will  show  that  he  possessed  no  slighl 
knowledge  of  brushwork  and   draughtsmanship.     As 


Important 
Art  Catalogue 


Our  Plates 


i  ordin  n\  to  <  leorge  111.  he  painted  many 
Royal  portraits,  those  of  the  King  and  Queen 
Charlotte  in  the  National  Gallerj  being  amongst  the 
iwn.  The  son  ol  Allan  Rams  tj ,  the  aul  hoi  >  il 
The  Gentle  Shepherd,  he  inherited  a  taste  for  writing, 
and  was  also  an  accomplished  linguist  and  con- 
versationalist. 01  him  Dr.  Johnson  said  :  "  You  will 
noi  find  a  man  in  whosi  conversation  there  is  more 
instruction,  more  information,  or  more  elegance  than 
ty's." 

The  portrait  of  John  Charles.  Viscount  Althorp,  by 
Sir  Joshua  Reynolds,  is  amongst  the  most  plea 
of  the  many  line  portraits  l>\  Reynolds  in  the 
possession  of  Earl  Spencer,  amongsl  which  are 
included  such  well-known  canvases  as  Georgiana 
Duchess  of  Devonshire,  Lady  Camden,  l.avinia 
Countess  Spencer,  and  the  Hon.  Miss  Anne  Bingham. 

A  painter  new  to   the    pages   of  THE   C0NN0ISSE1  R 

Magazine  is  J.  F.  A.  Tischbein,  whose  portrait  of 
Princess  Frederic ka  Sophie  ll'ilhe/mina  in  the  Rijks 
Museum  at  Amsterdam  we  reproduce  in  this  number. 

I'lns.'  aie  no  fewer  than  six  painters  of  this  nam.' 
recorded,  all  of  whom  are  related,  and  almost  all  of 
whom  owed  much  ol  their  ability  to  J.  H.  Tischbein, 
the  uncle  of  the  painter  of  the  portrait  reproduced. 
There  are  numerous  examples  of  the  work  of  the 
Tischbein     family     on     the     Continent,     notably     at 

\m  i   rdam,  Berlin,  Brunswick,  Frankfort, and  Leipsic. 

Our  special  presentation  plate,  Marie  Antoinette, 
alter  the  painting  by  Madame  \  igce  Le  Brun  at 
Versailles,  is  generallj  considered  the  finest  portrait  of 
the  unfortunate  French  queen,  who,  "radiant  and 
blind  beneath  the  symbolic  Hood  of  ostrich  plumes, 
awaits  destiny." 

The  plate  on  the  cover  of  the  present  numb  i  is  a 
portrait  of  Jane  Countess  of  Westmoreland,  daughter 
oi  K.  Saunders,  Esq.,  and  niece  and  co-heiress  ol 
Admiral  Sir  Charles  Saunders,  R.C.B.',  who  married, 
.is  In-,  second  wife,  John,  tenth  Earl  ol  Westmoreland, 
in  i.Soo.  The  original  is  in  the  possession  ol  th 
Rt.   Hon.  Sir  Spencer   Ponsonby   Fane,   p.C. 


Boohs  Received 

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ORRESPONDENC 


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Special    Notice 

Enquiries  should  be  made  upon  the  coupon 
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'Books.     The  Times,  1805.— At, 168  (Middleton).— 
new   pa]  -  1    are   noi    very   valuable. 
w  I,,.',,  reprinlso  lition. 


IS 


Cosmographle,"  1660.     Ai,i52(Ashton  un 
1  this  1 '■  isnot  1 


"  Waverley  Novels,"   icS2i,  25  vols.,  calf.— Ai, 105 

:         alue  of  this  edition  ■  ■;     ■   ■         1    \ 
more  than  £  I.     Your  two  volume    ol  'he  Genii, 

vorth  only  .1   1  •  a  twenty- 

m  £2  to  ,£4  or  £5,  a       1  idil 

"Oliver  Twist,"   by  Charles  Dickens,    1st  edit., 

1838,    3    vols.      At,  it  1.1"  1I1  limn  1  dition    of 

It   trie  cancelled   "  Fireside  "   plate,   may   be 

.  to,  according  to  tin-  condition  ami 


EngraVingS.  — "  The   lock"  and   "Hie  Corn 
field,"  by  I).  Lucas,  after  Constable.      \i    •  iS  (Bristol). 

1,1  hey  are 
worth  upwards  of  £$0  the  pair. 


Mid-Victorian     Engravings.  -  A  1,297     (Bradford).— 

Prints  of  this  class  are  of  little  value. 

"Helena,  second  Wife  of  Rubens,"  by  O.  Maile, 
after  Rubens.  -Ai,3l6  (Lichfield).— Your  engraving  is  worth 
from  30s.  to  £2. 

"  London  Cries,"  by  W.  C.  Lee.— At, 329  (Delgany).— 
Your  set  ol  London  1  'ries  is  ol  little  value. 

"Master  Lambton,"  by  Cousins.— Ai, 333  (Exeter). 

—There  are  many  "states"  of  this  print  differing  widely  in 
value.  The  last  and  most  common  has  the  title  "Boyhood's 
Reverie";  and  if  this  is  the  one  you  possess,  it  is  worth  about 
£2  or  £}.     Some  early  states  realise  high  prices. 

Rembrandt,  by  C.  Turner.— Ai, 232  (Inverness,  N.B.). 
—The  value  of  this  mezzotint  portrait  is  about  £$. 

"The  Horse  Feeder,"  by  J.  R.  Smith,  after  Q. 
Morland.  A1.23S  (Slough).  — Your  print  should  fetch  £10 
to  £i$,  according  to  condition. 

Furniture.— Window  Seat.— Ai. 349  (Castle  Pull- 
ingham). — From  the  rough  sketch  you  enclose  it  is  difficult 
to  give  a  propel  opinion  regarding  your  old  window  seat,  but 
11  is  evidently  an  early  nineteenth  century  piece.  Its  value  is 
probably  not  more  than  3  or  4  guiro  is. 

Mahogany  and  Oak  Chest  of  Drawers.— Ai, 350 
(Ambleside).— Unless  the  object  you  describe  has  any  special 
history,  we  do  not  think  it  would  letch  very  much.  To  value 
il  definitely,  we  must  have  a  photograph  and  further  particulars. 

Carved  Oak  Sideboard.- A 1. 31 3  (Weston-super-Mare). 

—  It  is  practically  impossible  to  judge  1  arvi  d  oak  from  a  photo- 

["he   piece  has  a   foreign  appearance,  and,   as  near  a-. 

iventeenth   century   Flemish  origin.      Its 

lie  \  due  we  do  no  judge  to  be  more  than  £2$  to  £30  ;  but 
this  opinion  needs  confirmation  by  inspection  of  the  piece. 

1  ighteenth  Century  Chairs.  \1.2so  (Stoke  Newing- 
ton.N   1.      1  In-  four  chairs  of  which  you    send  photograph   are 

e    iX:h   century.      We   presume   they  are  of 
acks  are  original,  the  utmost 

Old  English  Chair.— Ai, 314  (St.  Osythl.— We  presume 

youi    than    is   tit    walnut   01    mahogany.     It    is   apparently  oi 

■  century  I  nglish  workmanship,  and  its  value  is  aboul 

Lace.— Crochet    Flounce.— Ai, 1 14  (Kidderminster| 

the  oil  itograph  1,  youi  flounce 

crochet,  and  to  be  worth  £6  tos.  or  so. 


wk 


BARI1AK  \.  CO!  NTESS  OF  CASTLEMA1NE 
VFTER V  OF    CLEVELAND 

■      :  i    I  '. 
/„  the  /■•  of  Hurl  Spencer,  K.G. 


N'OVIMl.HK,     I9O9. 


r^J^fH 


«L 


6F- 


-fflF     fewn/ 


Part  I. 


Written    and    Illustrated    by    Leonard    Willoughby 


That  Portsmouth  owes  its  present  importance 
as  a  town  to  its  geographical  position  is  very  obvious. 
The  rise  of  most  of  our  cities  and  towns  to  any  sort 
of  importance  has,  in  fact,  been  due  to  the  con- 
formation of  the  ground  and  the  nature  of  either 
its  seaboard  or  river-side.  Of  the  many  bays  which 
abound  on  the  south  coast  of  England,  such  as 
Plymouth,  Weymouth,  Swanage,  Poole,  Christchurch, 
Portsmouth,    Langstone,    Chichester,     Pagham,    and 


Dover,  there  are  only  two  which   meet  the  necessary 
requisites  of  a  great   naval  port.      These  are    Ports- 
mouth   and    Plymouth.       Portsmouth     undo 
meets  all  requirements,  and  is  also  central   for  the 
command   of  the   Channel. 

Curiously  enough,  however,  neither  of  these  places 
was  recognised  to  be  of  the  importance  they 
now  are  until  the  eighteenth  century,  and  althou'gh 
Portsmouth  had  from  earliest  days  been  a  I .■. . 


CHARLES    I.    AND    HENRIETTA    Mj> 

Vol.  XXV.— No.  99.— i 


The   Connoisseur 


place  for  embarkation  and  the  gathering  of  ships, 
still  the  real  naval  stations,  such  as  they  were,  were 
the  principal  ports  of  trade — London  and  Bristol. 
Nevertheless,  from  very  early  days  Portsmouth  had 
to  bear  the  brunt  of  invasion  and  battle,  and  it 
was  from  here  that  Alfred  sent  out  his  fleet  to 
engage  the  Danes.  William  I.  was  opposed  by  the 
fleet  which  Harold  collected  at  Portsmouth— the 
mvenient  place  for  gathering  together  a  large 
assembly  of  ships.     In  still  earlier  days  the  Romans 


surrounding  country  which  1'orth  held  in  vassal- 
age of  Cerdic.  In  S38  -Ethelelm,  governor  of 
Dorsetshire,  routed  a  band  of  Danes  which  had 
disembarked  at  Portsmouth  from  a  fleet  of  thirty 
sail.  In  1086  William  I.  raised  a  fleet  here,  and 
embarked  for  Normandy  :  while  in  iroi  Robert, 
Duke  of  Normandy,  claiming  the  Crown  of  England, 
landed  in  Portsmouth  without  opposition.  In  1139 
the  Empress  Matilda,  with  the  Earl  of  Gloucester 
and    only    one    hundred    and    forty   men,   landed   at 


5TLE,    ON    rilK 


had  a  camp  at  the  head  of  the  harbour,  which  was 
cue  ..I  the  strongest  of  the  surviving  forts.  This 
iva  Portchestei  Castle  on  the  main  road  connecting 
Portus    Magnus     as    Pot  then  known — 

and  Winchester.  As  to  whether  Portchestei  was  evei 
a  really  convenient  place  ol  settlement  is  open  to 
doubt,  as  it  was  shut  in  by  hill  and  forest.  In  course 
of  time  it  grew  less  convenient  as  a  landing-place 
It  is  therefore  probable  thai  the  inhabitants  moved 
0  the  mouth  ol  the  harbour,  and  that  this 
was   the         1  it h  as  a  settle- 

ment and    lib  tequenl  town. 

In    501   a   bo.lv  ol    Saxons   landed    here    from   two 
■  ;lleys  under  the  command   ol    I'oiih  and  his 
1,   and  defeated  the    B 
killed  tli-:'  commander,  and  took   possession  oi  the 


Portsmouth  without  opposition.  Henry  II.,  previous 
to  his  departure  to  act  as  umpire  between  Philip  of 
France  and  Philip,  Earl  of  Flanders,  made  his  will  at 
Portsmouth,  near  the  sea-side.  One  copy  he  put  into 
his  own  treasury,  one  in  the  Church  of  Canterbury, 
and  a  third  in  the  treasury  of  Winchester.  Richard  1. 
embarked  at  Portsmouth  for  Barfleur  with  one  hundred 
large  ships  in  1194.  It  was  this  monarch  who 
granted  the  Corporation  ol  Portsmouth  a  chatter, 
dated  May  2,  int.},  three  months  after  his  return 
iptivity.  It  is  thought  that  this  chatter  was 
granted  in  return  foi  a  substantial  contribution  to  the 
Royal  Treasury.  The  charter  granted  leave  to  hold 
a  fair  or  mart  for  fifteen  days,  a  weekly  market  on 
Thursdays,  and  immunities.  This  was  the  chartei 
toi  ■■  I  lee   Marl    Ian."   which  continued  until  1S46. 


The    Town   of    Portsmouth 


The  immunities  alluded 
to  were  that  during  the 
fair  the  town  was  "  to 
be  Free  to  all  people, 
natives  and  foreigners, 
free  from  tolls,  duties, 
impositions,  and  no  one 
to  be  arrested  for  debt, 
or  oppressed  in  any  way 
during  its  continuance." 
This  fair  was  directed  to 
be  held  on  the  festival 
of  St.  Peter  de  Yincula, 
viz.,  the  ist  of  August 
in  the  Roman  Catholic 
calendar.  The  fair, 
which  was  originally  of 
great  service  as  a  market 
and  for  commercial 
rendezvous,  gradually, 
as  the  population  in- 
creased, degenerated 
into  such  scenes  of 
drunkenness  and  vul- 
garity that  an  Act  of 
Parliament  was  passed 
to  discontinue  it.  In 
1 200  King  John  granted 
to  the  borough  a  charter,  embodying  the  same 
privileges  enjoyed  under  Richard's  charter. 

Henry  III.,  in  1221,  assembled  at  Portsmouth  one 
oi  the  finest  armies  ever  raised,  and  in  1230  he 
embarked  for  St.  Malo.  This  same  year  he  confirmed 
the  preceding  charters  of  Richard  and  John,  and  in 
1242,  together  with  his  C'ueen,  Prince  Richard,  three 
hundred  knights  with  thirty  hogsheads  of  silver,  sailed 
from  Spithead  for'Gascony.  Fourteen  years  later  he 
granted  to  "our 
honoured  men  of 
Portsmouth  "  a 
"Guild  of  Mer- 
chants "  and  other 
privileges,  which 
shows  that  the  town 
was  so  far  advan- 
cing in  importance 
as  to  claim  equal 
privileges  with  such 
places  as  York, 
Hereford,  and 
Lincoln,  which  had 
already  their  Mer- 
chants' Guild. 
These   guilds   were 


k 

]  itr  -sSU-oet,  C«)mciou6  1  ovncamx/r,  ^  or 

fi 

% 

h' 

'^LQLa^,      , 

1 

1 

■  p& . 

W  OrUlUOulty  ' 

si     . 

"  j 

endowed  with  consider- 
able powers  for  the  regu- 
lation of  trade,  so  that 
there  is  no  doubt  that 
there  must  have  been  by 
then  a  fair  amount  of 
trade  existing  in  Ports- 
mouth. In  1336  the  town 
was  burnt  by  the  French. 
In  [346  Edward  III. 
assembled  a  fleet  here 
of  1,600  ships,  and  set 
sail  from  St.  Helens, 
and  in  1372  he  1  irdered 
all  maritime  towns  in  the 
kingdom  to  fit  out  vessels 
and  to  assemble  them 
before  the  ist  of  May  at 
Portsmouth.  Five  years 
after,  the  French  again 
attacked  Portsmouth 
and  burnt  it,  but  they 
were  driven  back  to  their 
ships  by  the  inhabitants 
with  great  slaughter. 
In  1386  the  Duke  of 
Lancaster  assembled  an 
army  of  28,000  men  for 
Spain,  and  took  with  him  his  wife,  Constantina  of 
Castile,  and  two  daughters.  Richard  II.  and  his  Queen 
accompanied  them  to  Portsmouth  and  presented 
them  with  two  golden  crowns.  The  English  fleet  was 
blockaded  by  the  French  in  14 16  at  Portsmouth. 
In  14 1 7  Henry  V.  embarked  for  Normandy,  while  in 
1445  Margaret  of  Anjou  landed  here  and  proceeded 
to  the  Priory  of  Southwick,  where  she  was  married 
to  Henry  VI.  In  1  549  Adam  de  Moleyns,  Bishop 
Chichester, 
1  he  King's 

I  >  1  i  v  y    seal,    was 
1  lut  of  the 

"  I  >omus  I  >ei  "  and 
cruelly  mi' 

Edward    IV.    re- 

,   .000  men 
on    South 

mon  in  1  175,  and 
granted  in  1  I'm  .1 
charier    wl 

II  r  ill  si: 

II ..    Ed  . 

andotb 


K  g  5  5 


K  a    0 

-j  :    _  z  « 
a  h  :'r  8  £ 


s 


"Hflfr ''■■i#^8Ki^.1 


The   Town  of  Portsmouth 


SEAL  ATTACHED  TO  ELIZABETHS  CHARTER  )n 
OBVERSE 

Elizabeth  granted  the  Corpora- 
tion the  power  of  electing  jus- 
tices of  the  peace,  and  gave  the 
title  of  "  mayor  and  burgesses." 
Charles  I.  granted  a  charter  in 
1629,  which  was  important,  as 
it  gave  the  borough  privileges 
and  immunities  which  it  did  not 
possess  before.  Charles  II. 's 
charter  of  16S3  became  void 
owing  to  the  borough  following 
the  example  of  many  others  in 
the  kingdom,  which  surrendered 
the  charter  of  Charles  I.,  and 
accepted  another  from  Charles 
II.,  under  which  they  acted  till 
the  abdication  of  James  II.  in 
168S.  It  was  then  discovered 
that  the  charter  of  Charles  I. 
was  in  the  hands  of  a  Mr. 
(liogne,  and  on  application  was 
by    him    duly   surrendered,    by 

which  means  the  charter  of  Charles  II.  became  void. 
The  recovery  of  Charles  I.'s  charter  was  highly 
favourable  to  the  freedom  of  this  borough,  since  by 
that  of  his  successor  the  mayor,  aldermen,  recorder, 
justices,  burgesses,  and  town  clerk  were  rem 
from  time  to  time  at  the  will  of  the  Crown. 


Richard 
III.,  in   1485, 

Con 
the    subse- 

also confirm- 

quent   items 

ed   preceding 
charters,   and 

hi  importance 
in  connection 

Henry    VII. 

with  the    his- 

granted   one 

tory  of  Ports- 

in    1  4S9. 

mouth,  1  may 

Henry    VIII. 
also  granted 

mention    that 
Southsea 

a    charter    in 

Castle     was 

1511,  as  did 
Edward    VI. 

built  in  1539. 
In       1552 

in   1551.    In 

Edward    VI. 

1600   Queen 

visited    Ports- 

mouth,   and    in    1591    Q 
Elizabeth  came  here.  Charles  1., 
as  Prince  of  Wales,  landed  here 
on  his  return  from  France  and 
Spain  in    1023.     The    Duke  of 
Buckingham  sailed  from 
head  with  100  ships  and  7,000 
land  forces  in   1627  to 
Rochelle.     In    1628  the   Duke 
was  assassinated  in  Poi  I 

on.      I  n    1  '•  1  2   Ports- 
mouth  « 

In  1660 
Princess  Henrietta,  fall  1 
of  the  measles  while  under  sail 
in  the  "  London,"  which  was 
nearly  lost  upon  the  I 
shoal,  put  into  Portsmouth 
harbour. 

Charles  II.  married  Catherine 
of  Braganza  on  May  22nd. 
1662,  and  in  1664  he  came  to 
Portsmouth  to  view  Prince  Rupert's  squadron.  The 
Uuke  of  Berwick  was  mail  [687,  and  in 

16SS  Judge  Jeffrej  ol  England, 

was  elected  Recorder.  In  [689  William  111.  dined 
on  board  the  "  Elizabeth,"  and  gave  the  seamen  10s. 
for  their  servio  ;  in  Bantry  Bay.    '  oming  to 


R'S  Oil  ICERS 


ARS 
NDER-  o: 


The    Connoisseur 


JOLD    BADGE 


later  times,  in  1803  Lord 
Nelson  hoisted  his  flag  on 
board  the  "Victory,"  and 
in  1805  embarked  from 
Portsmouth  for  the  last 
time.  The  same  year 
— barely  three  months  later 
— the  "  Victory  "  arrived  at 
with  the  mortal 
remains  of  this  most  gallant 
sailor  on  board.  Kings, 
queens,  emperors,  ruling 
princes,  presidents,  and 
governors  have  continually 
visited  this  great  maritime 
town,  and  he  who  would 
know  more  of  its  interest- 
ing history,  told  in  most 
readable  form,  should  study 
The  Annals  of  Portsmouth, 
written  by  Mr.  W.  11  . 
Saunders,  Portsmouth's 
antiquarian  and  curator  of 
its  museum.  This  work, 
together  with  Mr.  William 
'  rati  History  of  Ports- 
mouth, gives  in  detail  the 
many  historical  matters  w 
Portsmouth  and  Southsea. 

The  property  of  the  C01 
day,  such  as  the  insignia,  charters,  seals,  and  plate, 
is  of  a  niosi  intere  ting  di  ;cription,  and  is  safely 
lodged  in  the  princely  Town  Hall,  of  which  there 
is  no  linn  specimen  in  the  kingdom.  Other  objects 
ol  very  great  historic  value  are  kept  in  the  museum 
in  High  Streel  a  building  which  was  once  the  old 
guildhall.  The  contents 
of  this  highly-iii' 

m,  which  include 

dl  1  wings, 

a   copy 

:i    Independ- 

!  lizabethan 
London 

of  all   th 


;h    are    connected    with 


ihich  exists  to- 


Mr.  Saunders's  indefatig- 
able labours  —  are  more 
than  sufficient  to  induce 
the  authorities  of  Ports- 
mouth to  greatly  extend  the 
museum. 

My  only  regret  is  that  in 
a  short  article  I  am  quite 
unable  to  give  a  detailed 
description  of  some  of  the 
most  interesting  subjects  in 
the  museum.  The  object 
of  the  curator  has,  however, 
been,  with  the  means  at  his 
disposal,  to  show  as  much 
as  possible  of  the  historic 
matter  relating  to  the  old 
town  of  Portsmouth.  A 
large  portion  of  the  exhibits 
belongs  to  the  curator,  who 
has  made  a  life-long  study 
of  antiquarian  matters. 
Certainly  a  delightful  and 
instructive  hour  may  be 
spent   line. 

The  insignia,  documents, 

BY    THE    MAYOR  ,        ,     ,       \      ,  .        ., 

and  plate  belonging  to  the 
Corporation  are  of  singular  interest,  the  plate  itself 
being  the  second  most  valuable  collection  of  Cor- 
poration plate  in  the  kingdom.  It  is  claimed 
that  Portsmouth  has  the  distinction  of  being  one 
of  the  towns  to  which  the  largest  number  of 
charters  has  been  granted,  these  ranging  from  that  of 
Richard  I.  in  1194  down  to  1835,  when  the  municipal 
Reform  Bill  was  passed.  In  1600  Queen  Elizabeth 
granted  the  first  charter  of  definite  incorporation 
to  Portsmouth.  The 
privileges  then  granted 
were  that  the  tow  n 
should  be  governed  by 
a  mayor  and  burgesses, 
who  might  hold  lands 
and  have  a  common 
seal.  According  to  the 
records  in  the  Corpora- 
tion muniments,  the 
first  mayor  of  Ports- 
mouth was  elected  in 
1  5  3  1  ,  and  was  one 
Thomas  Carpenter, 
who,  according  to 
Leland,  built  the  first 
Town  Hall.  This  stood 
in   the   middle   ol    11  mh 


The   Town  of  Portsmouth 


Street,  and  was  built  at  his  own  ex- 
pense. The  seal  attached  to  Elizabeth's 
charter  is  an  exceedingly  fine  one,  and 
in  good  preservation.  The  earliest 
common  seal  was  pointed  oval  in  shape, 
3  in.  in  length.  This  wasthirteenth  cen- 
tury, and  showed  a  single-masted  ves- 
sel on  the  waves,  with  furled  mainsail 
with  the  moon  and  star  above.  Only 
an  imperfect  and  undated  impression 
of  this  remains.  The  present  com- 
mon seal  is  double,  and  is  late  thir- 
teenth century.  Itiscircular.measuring 
3  in.  in  diameter,  the  obverse  bearing 
the  figure  of  a  single-masted  vessel  on 
the  waves,  with  two  men  on  the  yard 
furling  sail.  The  reverse  represents 
a  Gothic  shrine,  and  is  purely  eccle- 
siastical. It  has  a  gabled-roofed 
building,  in  the  centre  of  which,  under 
a  niche,  is  a  crowned  figure  of  the 
Virgin  holding  the  infant  Saviour. 
At  the  east  end  of  the  building  is  a 
niche  containing  a  figure  of  a  bishop — 
on  the  left  St.  Thomas  of  Canterbury, 
and  on  the  right  St.  Nicholas,  both 
with  mitres,  episcopally  robed,  and 
having  croziers  in  their  hands.  The 
legend  translated  runs  :  "  This  Port  O 
Virgin  Assist  !  O  St.  Nicholas  cherish 
it  !    O  St.  Thomas  pray  for  it  !  "    St.  Nicholas  was  ap 

pealed  to  as  the  special  protector  of  sailors,  and  St 

Thomas  the  patron  saint  of  Portsmouth  Parish  Church 
The  provost's  seal  is  circular,  \\  in.  in  diametei 

and   bears    the 

device    a   cres- 

c  e  n  t       s  u  r- 

m ount ed     b  y 

an    eight-rayed 

star.       The 

crescent  and 

star  is  the  old 

accepted   arms 

of  the  borough, 

the  date  of  its 

introduc  tion 

being    uncer- 

generally  sup- 
posed that  the 
crescent  was 
adopted  during 

the    Crusades,  COFFER  OF  T„,  time  01 

and    the    star  of  the  borough  of  poe 


mariners.      The  mayor's  seal  now  in 
use    is  a  copy   in    silver  of  the  old 

provost^.      It  was  in  use  in  1692,  and 

1 


• 


8SMVTH. 


: 


THE  OLD    HAND   DISPLAY  ED  OUTSIDE 

THE   "WHITE  HOUSE"   (THE  COMMON 

GAOL)     IN     THE     HIGH     STREET     TILL 

RING    THE    PERIOD     OF    THE 

FREE     MART     FAIR 


The  great  mace  is  of  silver-gilt,  and 
is  48  in.  in  length.  It  bears  the 
i:l.  W.  II.,  and  is  said  to 
have  been  given  to  the  town  by  Sir 
Josiah  Child  in  1678.  It  is,  however, 
probable  that  he  gave  it  during  the 
year  of  lus  mayoralty  in  16 
greater  part  of  it  is  of  Commonwealth 
period,  and  was  only  converted  into 
11011.  The 
shall  is  certainly  original,  and  the 
lengths  are  chased  with  a  running 
pattern  of  acorns  and  oak  leaves  en- 
circled by  a  ribbon.  The  brackets 
beneath  the  mace  head  are  v 
tiful,  while  the  foot  knop  is  chased 
with  oval  medallions.  Alterations 
have  been   made  to  the   m 

th  devices 
have  been  replaced  by  the  rose, 
fleur-de-lys  and  harp,  all  crowned, 
between  the  initials  C.  R.  The 
coronet  on  the  head  dates  from 
the   Restoration,   but  the     1  crown   are 

peculiar,  and  certainly  non-regal.     These  support  an 
orb   and   cross,  and  beneath  these  latter  on  the  flat 


of  the  crown  are  the  royal  arms 


Another 

long,   is   ol    sil- 

shaftdividedby 
kno]>s  into  four 

I 

side 


The   Connoisseur 


I.\    Cp.VGRESS 

\j?jic  umntimoit*  ^i-dftratton 


and  of  silver  par- 
cel gilt.  Its  head 
is  hemispherical, 
with  a  coronet  of 
lleurs-de-lys  and 
.  There- 
are  fivi  open 
scroll-work 
flanges  on  the 
grip  of  thi  J;  tii, 
which  is  divided 
into  lour  sec- 
tions. The  plate 
on  the  top  has 
the  royal  arms  of 
i  lharles  II.  with- 
in the  garter. 
This  in 
repain 

thirty-fivi  years 
ago,  when  t he- 
plate  was  found 
to  beai  on  the 
id  the 
fieCom- 
ilth.  At 
the  time  ol  the 
Restoration  this       HHfS 

plate    had    he-en 
imply  rt\ 
and!  lharl 
arms    engraved 

on  it.     Om   this       DEC]  VR  ..{ , ,    ,-sU  K1,  1N  INDi  PENi 

.,  being         i"M;i'  *RE  "xl  v  '  i  '»•  THESE  D0C 

was  made   to  screw  off  if  desired  for 

examination.      For   many   years   the    mace    was    lost, 

but  was  found   in  1.N75  amongst  some  lumber  in  the 

borough   gaol  !       The    mayor's   chain   and   badge   are 

ind  were    bought    by  public   subscription   in 

["hechaini  oni  and  back, 

ledallions  representing  the  old 

il  a  double  chain 
of  Hat  and  round  links  with 

mouth.      1  1 

flat  links 
with   the 

front  pari 


FXmcri 


sets  of  six  round 
twisted  links, 
divided  by  three 
medallions.  The 
central  one 
has  the  crest 
of  Henry  Ford, 
Esq.,  Mayor, 
when  the  chain 
was  bought.  Over 
this  was  added 
in  1887,  by  A.  S. 
Blake,  Esq.,  the 
ex-mayor,  an  im- 
perial crown  of 
gold  with  jewel- 
led circlet,  and 
beneath  it  a  rib- 
bon :  jubilee  v. 
1887.  k.  Y  1  \  i\ 
Two  curious 
water  bailiffs' 
staves,surmount- 
ed  by  a  royal 
crown,  are  inter- 
esting. These 
are  Georgian, 
and  were  used 
by  officers  in 
the  execution  of 
their  duty.  The 
curious  part  of 
these  staves  is 
ms  existing,  of  which  his  is  one  that  when  an 
officer's  duty  took  him  aboard  a  vessel  to  arrest  a 
person,  it  was  first  of  all  necessary  to  unscrew  the 
bottom  of  the  staff.  Inside  the  shaft  is  an  oar,  which 
when  removed  screws  on  to  the  end  of  the  shaft.  This 
oar  was  obliged  to  be  shown  when  boarding  a  vessel, 
otherwise  no  arrest  could  be  effected.  The  cofter 
used  until  the  reign  of  Elizabeth  for  the  keeping  of 
the  charters  is  an  oblong  box  with  an  arched  lid. 
It  measures  only  13^  in. 
in  length,  8  in.  in  breadth, 
and  Sh  in.  in  height.  It 
is  of  wood,  covered  with 
red  leather,  and  banded 
w i  t  h  s t  r  i p s  of  fluted 
steel. 

In  a  later  issue  I  will 
give  a  description  and 
full  illustrations  of  the 
magnificent  collection  of 
plate  belonging  to  the 
Corporation, 


1   Rl  >N 

IN     1  111  ■     1! 

HERE  1  1 

II  \  U 

111    1   11 

THE     Kl> 

G 

V^TM£s 


Henry  Walton,  Artist 


By  Edmund   Farrer,  F.S.A. 


Hi 


In    Bryan's    Dictionary   o)    Painlen    and 

Engravers,  under  the  name  of  Henry  Walton,  appears 
the  following: — "An  English  subject  and  portrait 
painter,  was  born  about  1720.  He  was  a  member 
of  the  Society  of  Artists,  where  he  exhibited,  as  well 
as  at  the  Royal  Academy,  from  177 1  to  1779, 
subjects  were  usually 
portraits  in  small  or 
domestic  incidents. 
Several  of  his  pictures 
have  been  engraved. 
His  death  took  place 
about  1790.  Two  of 
his  pictures  were  exhib- 
ited at  the  Grosvenor 
Gallery  in  1889."  A 
very  similar  account  of 
him  is  given  in  Red- 
grave's Dictionary  o) 
Artists  of  the  English 
School,  where  we  have  : 
"  Portrait  painter,  was 
born  about  1720.  His 
portraits,  usually  of  small 
size,  are  tolerably  drawn 
and  tenderly  painted, 
with  some  attempt  at 
expression.  He  also 
painted  domestic  inci- 
dents, in  which  he  in- 
troduced portraits,  and 
exhibited  some  of  this 
class    at    the    Royal 


Academy  in  1777-7S  and   1779.     He  was 
member  of  the  Society  of  Artists.      Died  about  1795. 
Several   of  his  works  have  been   engraved." 
In  Waagen's  Treasures  of  Art  in   G>  a 
circa  1S54-57 — though  the  author  seems  to  have  had 
access    to    the    great    collections    in     England  —  no 
mention    is   made    of  a 
pi<  mre    by    this    artist, 
nor    do     I     know    any 
further  account   of  him 
in    print    whatsoever. 

The  catalogue  ol  the 
Grosvenoi  Gall 
the  exhibition  ol  1889 
is  not  in  the  library  at 
the  Victoria  and  Albert 
Museum  ;  but  I  think 
it  probable  that  the 
pictures  mentioned  in 
Bryan's  work  as  exhib- 
ited thru-  were  by  an 
i!  name, 
who  was  then  living. 
About  the  year  1S90, 

at  Rickinghall, 
folk,  of  an  old 
by  the  name  ■> 
iham.  who  « 
over  nni 
and 

within  a  radius 


The  Connoisseur 


same  spot  ;  and  lie  often  spoke  to  me  of  an 
artist  by  the  name  of  Walton  (the  Christian  name 
he  could  not  remember),  who,  when  he,  the 
narrator,  was  a  boy,  resided  at  a  farmhouse  (now 
called  the  Oak  Tree  Farm)  in  Burgate,  on  the 
n,ain    r0  ole  and    Bury   St.    Edmunds. 

I    thought    little   of   it   at   the   time;   but    some    years 
later,  when   I    had   partly  accomplished   my  visitation 
of   Suffolk    houses,   which   resulted   in  a   volume  on 
its,  this  story  of  old  Gooderham's  came 
0    me,  and    1    determined    to  try  and  connect 
this    local    artist    with    the     man    recorded    by    both 
and    Redgrave.     It   naturally  struck    me   the 
former   might    well   be   the   son  of  a  man  who  had 
died   between    1790  and    171)5. 

This  was  the  fixed  idea  in  my  mind  when  I  first 
sought  the  connection,  and  it  was  a  long  while  ere  I 
saw  reason  to  alter  it.  It  seemed  to  me  incredible 
that  the  man  who  painted  The  Fruit  Barrow,  engraved 
by  1.  K.  Smith  in  1780,  and  the  Portrait  of  Edward 
GMon,the  historian,  in  the  National  Portrait  Gallery. 
could,  even  had  he  lived  beyond  1790  or  1795,  nave 
painted  in  1806  that  of  Lord  Henry  Petty,  afterwards 
third  Marquess  of  Lansdowne,  purchased  by  the 
trustees  of  the  same  institution  in  1S64— the  style 
is  so  different. 

I    soon    found    out    that    the    Burgate    artist   had, 
between    1795  and  1810,   left   many  specimens  of  his 
handicraft   in    the    immediate   neighbourhood    ot    his 
residence.     At  Thomham    Hall,  near  Eye,  belonging 
to   Lord    Henniker,  there  are   four  portraits,  exactly 
to  that    "l    Lord    Lansdowne,  painted 
■   and  in  ill-'  lower  corner  of  one 
en,  placed   there   by  the  artist,  in 
tde,  "  W  alton  .  Burgate." 
At   Thelnetham    Rectory,  in  the    possession   of  the 
Rev.     fohn    Sikrs    Sawbridge,    inherited    from    his 
Mi    Edward  Bridgman,  ol  <  !onej  Weston 
Hall,    who    married    a    Miss     Walton,     I 
a    relationship 

■.   ing    on    the 

three  of  the  pictures  aftei 

J.    R.    Smith  ;    hen',    ton,    were 

<!  m  similar 

the  portrait 

iiiled    in  the 

d,   "Henry 

11       ■       and     the 


nothing  to  prove  conclusively  that  the  Henry  Walton 
of  the  memorial  ring  was  an  artist  at  all. 

It  is  to  my  friend  Prince  Frederick  Duleep  Singh 
that  I  am  chiefly  indebted  for  the  elucidation  of  the 
mystery;  he  it  was  who  discovered  in  the  early  part 
of  1908  the  family  history  of  "  Henry  Walton,  Artist," 
thus  enabling  me  to  state  the  facts  which  this  article 
records.  It  will  be  necessary  to  enter  rather  minutely 
into  genealogical  details  to  prove  that  the  Henry 
Walton  of  Bryan  and  Redgrave  lived  on  after  1790 
and  1795,  that  he  was  the  Burgate  artist,  and  that 
he  died  on  19th  May,  1S13,  aged  67.  The  infor- 
mation here  collected  to  prove  these  facts  is  taken 
from  a  family  prayer-book,  the  parish  registers  of 
Dickleburgh,  Norfolk,  the  Suffolk  collections  of  Davy 
in  the  British  Museum,  and  the  will  of  Henry  Walton 
of  Burgate,  proved  September  4th,  1S13. 

In  the  middle  of  the  eighteenth  century  there  was 
living  at  Dickleburgh  a  certain  Samuel  Walton,  born 
in  1 7  to;   he   was   the   son    of   William   Walton,    who 
was  living  in    1720;   and   in    the   possession   of  this 
latter    gentleman     was    the     aforesaid     prayer-book, 
printed  in  1691,  "given  to  me  in  1700,  by  my  mother, 
as  my  father's  book."       In   this   little   treasure-house 
lies   hid   a   good   deal    of   the   earlier   portion    of   the 
family   history,   and   that   same   book   is    now  in    the 
possession  of  a  collateral  descendant,  Mrs.  Walton, 
of  Bedford.     Samuel  Walton,  of  Dickleburgh,  had  a 
wife  whose  Christian  name  was  Anne  ;  by  her  he  had 
three  children.     The  elder  was  Samuel  Walton,  jun. 
(so-called  in  the  prayer-book,  in  the   parish  registers, 
and  on  his  tombstone  at  Dickleburgh)  ;   he  was  born 
in    1 741,  and    died   in    1783,   aged   42.     Of  him  we 
need    record    no    more     than     that     he    had    several 
children,  that  he  received  the  prayer-book  from  his 
uncle,    William  Walton,   of  Norwich,  and   handed   it 
on  to  a  third  Samuel,  who  died   unmarried  ;  he  be- 
queathed it  to  his  brother  Thomas  Newstead  Walton, 
from  whom  it  came  in  direct  descent  to  the  husband 
of  its  present  owner  at  Bedford.    Samuel  Walton,  sen., 
had   beside^   another    son    and   daughter;    the    latter 
was  Elizabeth  Walton,  born   111  1752.  who   married  at 
Dickleburgh  in    1771    Edward   Bridgman.   of   Coney 
Weston  and    1'-';''  dale;  she  died  in    1843,  her  hus- 
band having  predeceased  her  in  181  7,  aged  (17.     The 
11  -a, is  Henr)  Walton,  the  artist,  born  (though 
1   know  not  where)  in   [746,  and  who  is  recorded  in 
the   Davy  MS.  to  have  "died  at   Mrs.  Fraser's,  New- 
Bond  Street,    in    1813,   aged   67,"   tin    very  date   of 
the  memorial  rings.      In  the  will  tin-  artisl  bequeaths 
■■  10  in\  1         ieth  Brid   man  one  hundred  and 

fifty    pou  0    my    brother-in-law    Edward 

I'.iidgiuan  '  .1   similai    sum.      Furthermore,   members 
mI    the   fa  uel    Walton,    jun.,  were   painted 


by  the  artist.  The  portrait  said  to  be  Robert 
Rayner,  who  married  one  of  the  daughters,  in 
a  shooting  costume  characteristic  of  the  period 
(c.  1790),  carrying  a  gun,  is  still  in  the  possession 
of  his  grandson,  Mr.  Cooper,  of  Ashen  Hall,  Essex. 
Mr.  Rayner's  first  wile,  who  was  Frances  Walton, 
was  painted  seated  at  her  spinning  wheel  ;  but 
the  picture  being  used  as  a  fire-screen  was  des- 
troyed. Many  other  members  of  the  family, 
painted  by  the  artist  in  miniature,  are  in  the 
possession    of    Mrs.    Walton,   of    Bedford,    who    also 


owns  proof  copies  of  The  Fruit  Barrow,  and  yet  a 

third  memorial  ring. 

Thus  there  can  be  no  doubt  but  that  the 
artist  was  connected  by  family  tics  with  the  Bridgmans 
of  Coney  Weston,  in  the  possession  of  which   family 
and  their  descendants  were,  and  still  are,  pii 
engravings   by  and   after  the   Henry  WaltOl 
and    Redgrave.      He  was  not   born   in    1720,  but  in 
1746;    he   was   therefore   25    years   old  'and   not    51) 
when  he  exhibited  his  first  picture  at  the 
Artists;  but  why  he  ceased  to  exhibit  abo 


II.     WALTON 


The    Connoisseur 


unknown,  seeing  that  he  painted  after  that  so  many 
portraits  of  celebrated  people. 

There  is  in  the  possession  of  Mr.  Harvey  Mason, 
of  Necton  Hall,  near  Swaffham,  Norfolk,  a  picture 
painted  by  Walton,  with  a  verified  record  on  the 
back,  which  gives  one  valuable  piece  of  additional 
information  concerning  the  artist's  early  career,  the 
truth  of  which  will  be  very  evident  to  anyone  who 
carefully  studies  the  style  and  technique  displayed 
in  the  pictures  painted  prior  to  17S0.  It  has  well 
been  described  as  "  Cricket  at  Harrow  in  1772,  with 
portraits  of  William  ami  John  Mason  and  their  tutor, 
Mr.  Ambrose  Humphreys."     The  centre  figure  in    it 


IDs     lllll.'l) 


ij    (William   Ma  on)   holding   in  Ins  hand  an 

ed  curved   cricket   bat;  the    youngei    boy 

is  partly  kneeling  on  the  ground,  on 

th      picture.      The    1   istume    is 

■•  nig,  as  it  does,  what  was  worn 

at     Harrow    about   that    period — loose 

,    and    tight   wrist- 

1  oats,     with    gold     buttons  ; 

having  gold  buttons  at  the  knees  ; 

similar  buttons,  is  on  the  ground, 
the  sinister 
-presents  a 

•     hi    lattei 


is  not  an  artistic  production  at  all.  On  the  back  is 
an  inscription  written  later  by  William  Mason,  the 
elder  of  the  two  boys,  "  The  picture  was  painted  by 
Walton,  of  Faunham  (sic),  near  Bury.  It  represents 
his  patron,  and  my  most  estimable  friend,  Ambrose 
Humphreys,  Esq.,  myself  and  my  brother  John 
Mason,  playing  at  Ciicket  at  Harrow,  where  we  were 
then  at  school  under  Dr.  Summer  .  .  .  now  Dr.  Parr, 
assistant.  It  was  about  the  year  1772.  Walton  was 
placed  by  Mr.  Humphreys  under  Zoffany."  Indeed, 
the  figure  of  the  tutor  might  well  have  been  painted 
by  Johann  Zoffany.  One  further  point  connected 
with  this  picture  may  be  of  interest.  William  and 
John  Mason  were  the  sons  of  William  Mason,  Esq., 
of  Necton  Hall,  by  his  wife  Elizabeth,  the  daughter 
and  co-heir  of  the  Rev.  Francis  Blomefield,  rector  of 
Fersfield,  the  well-known  antiquary  and  historian  of 
Norfolk. 

Two  other  paintings  exhibiting  Walton's  earlier 
(Zoffany)  style  are  illustrated  in  this  article.  The  one 
is  in  the  possession  of  Dr.  Crowfoot,  of  Blyburgate 
House,  Beccles,  and  represents  three  young  men  in 
the  costume  of  the  period  (1770)  with  a  boat  alongside 
the  bank  of  the  river  Waveney,  between  Beccles  and 
Yarmouth.  The  centre  one  of  the  group  is  William 
Crowfoot,  an  ancestor  of  the  owner;  the  two  otheis 
were  his  college  friends,  sons  of  Mr.  Burroughes,  of 
Long  Stratton,  in  Norfolk.  In  Blyburgate  House 
there  are  many  portraits  by  Walton,  some  painted 
thirty  years  later  than  this,  and  Dr.  Crowfoot  believes 
that  the  artist  often  resided  for  a  while  in  Beccles. 
No  doubt,  like  others  of  the  profession,  he  shifted 
about  to  find  work  for  his  brush. 

The  second  portrait  represents  a  cleric,  of  an  ancient 
Suffolk  name,  the  Rev.  Charles  Tyrell,  rector  of 
Thurston.  He  died  in  181 1,  aged  70.  The  picture 
was  painted  probably  about  1790,  or  even  earlier.  It 
is  now  in  the  possession  of  a  descendant,  Commander 
Browne,  R.N.,  of  Rougham,  near  Bury  St.  Edmunds. 
Through  the  kindness  of  Mr.  J.  S.  Earle,  of  Ken- 
sington, I  am  enabled  to  give  a  list  of  the  pictures 
ol  Walton  which  have  been  exhibited  at  the  Society 
of  Artists  and  at  the  Royal  Academy.  The  following 
is  from  The  Society  of  Artists  of  Great  Britain,  by 
Algernon  Graves,  1007  : — 

■•  Henry  Walton,  painter,  Great  Chandois  {sic)  Street,  Covent 
Garden." 

1771.-    198.   A  Family. 

1 7  7 1 .      199,   Portrait  of  a  Nobleman,  small,  whole  length. 
1771.     (El  nz.,  Fellow  of  the  Society  of  Artists, 

leen  street,  Lincoln's  Inn  Fields. 
1772. — 359.   A  Family  of  Children,  small,  whole  length. 
1772. — 360.  A  Portrait  ol  a  Nobleman,  small,  whole  length. 

1.   A  Portrait  of  a  Gentleman,  small,  whole  length. 
1772. —  v  Gentleman,  small,  whole  length. 


■ 


■}■ 


IK 


iRLES,   FIRST  MARQUESS  CORNWALUS, 
OGBORNE,    AFTER    H.    WALTON 
I  Colour  Print  in   the  possession  of 


H.  Pri, 


l-'iclr. 


Duleep 


Henry  Walton,  Artist 


1772.— (Director  F.S.A.) 

'773-— 4°3-   A  whole  length  of  an  Office.. 

1773- — 469-  A  Conversation. 

I773-  —  Hill  St.eet,  Berkley  {sic)  Square  (F.S.A. ). 

I776-— Ij1-   A  Oirl  plucking  a  Turkey. 

From  The  koml  Academy  of  Arts,  by  Algernon 
Graves,  1906,  we  have  Henry  Walton,  painter,  Hill 
Street,  Berkeley  Square. 

I777-— j6o.   A  Market   Girl. 

I77S. —  322.  A  Girl  Buying  a  Ballad. 

I779—338-   A  Scene  in  the  Spanish  Barber,  Act  I.,  sc.  i. 

1779- -339-    A   Group  of  Figures  and  a  Fruit   Barrow. 

In  Smith's  Brilisli  Mezzotint  Portraits  four  are 
recorded  as  being  "after  Henry  Walton  "  : 

(1)  Mrs.  Cur/is,  engraved  by  Henry  Hudson. 
Bromley  mentions  17S9  as  the  date  of  this  print.  It 
represents  a  lady  seated  on  a  sofa.  There  is  a  copy 
exhibited  in  the  Cheylesmore  collection  at  the 
British  Museum. 

(2)  Walton  Family,  tin-  Fruit  Barrow,  mezzotint 
by  J.  R.  Smith,  published  March  6th,  17S0.  Accord- 
ing to  Bromley,  it  represents  the  children  of  the 
artist.  According  to  Brande's  catalogue  tin.  youn 
lady  is  Miss  Carr.  the  boys  the  nephews,  and  the 
little  girl  the  niece  of  Walton.  It  is  evidently 
No.   330  of  the   Royal   Academy   in    17711. 

(3)  Life  ami  Works  of  J.  R.  Smith,  by  Julia 
Frankau,  1002.  Plucking  the  Turkey  (Walton) 
W.L.  A  woman  sitting  directed  nearly  in  profile  to 
left  ;  cap,  crossbarred  gown,  apron  ;  pulling  feathers 
off  large  turkey,  supported  on  edge  of  hamper  before 
her.  Under  :  Painted  by  H.  Walton,  engrav'd  by 
J.  R.  Smith.  Pluckmg  the  Turkey.  Pubhsh'd  as  the 
Act  directs,  Jan.  26,  1777,  by  J.  R.  Smith,  No.  10, 
Bateman's  Buildings,  Soho  Square,  and  W.  Darling, 
(Ireat  Newport  Street.  Price  is.  (id.  H.  14,  Sub.  13, 
W.  9^.  (I.)  Engraver's  proof  before  any  letters; 
(II.)  As  described.  This  is  undoubtedly  the  picture 
exhibited  at  the  Society  of  Artists  in  1  776. 

(4)  The  Silver  Age.  Mezzotint  by  J.  R.  Smith. 
Published  January  30th,  177S,  by  Boydell — a  com- 
panion to  The  Golden  Age,  painted  by  P..  West, 
and  engraved  by  Valentine  Green. 

In  the  work  just  previously  i]tioted  by  Julia 
Frankau,  1902,  a  description  is  given  of  an  engraving 
after  Walton,  called  The  Pretty  Maid  Buying  a  Love 
Song.  It  was  printed  for,  and  sold  by  Carington 
Bowles,  at  his  "Map  and  Print  Warehouse,  No.  69, 
in  St.  Paul's  Churchyard,  London  '  M,iss  Frankau 
describes  it  as  "  a  street  scene,  on  tin.-  left  a  young 
woman  in  hat  and  undercap,  dainty  dress  ol  sniped 
material,  heart-shaped  pincushion  hanging  al  sidi  , 
standing  and   in  the  act  of  taking  a   ballad 


number  of  others  suspended  on  strings  along  a  wall 
at  the  back   of  their  owner,  an  old   man  seated  on  a 
box,  hat  in  hand  on  knee,  walking  stick  betwei 
waistcoat    tied    together    with    string,    broom    1 
left."     This    picture   is   identical   with    one   of  which 
Mr.  Sawbridge  owns  a  copy  (illustrated  here),  called 
The   Young   Maid  and  the  Old  Sailor.      Painted  by 
H.   Walton,   prepared   by    I.   Walker,  and  finisl 
F.  Bartolozzi.    Published  Feb.  1,  17  s,  by  R.  Willman. 
No.  53,  Cornhill.    The  title  has  six  verses  under] 
This  print  in  bistre  fetched  T:2    is.  fid.  in   [902 

Ilit.-   portraits  only   have,  as  far  as  I    km 
engraved  : — 

(1)  In  mezzotint.    The   Right   Hon       The  Earl  of 


Orford,vtt.  83,   [806,  Henry  Walton,  pinx'-,C.  Tinner. 
scttlpsit,  and  the  print  is  dedicated  by  psrn 
"  Rt.  Hon.  Pad;,  Catherine  Walpol 
very  humble  servant,  Henry  Walton,  I  on  ' 
lished   Ma\   1,  tSo6,  for  the  proprietor,  by  R.  Cribb, 
I,  Holborn." 
(2)   In   mezzotint.      Lord  Henry  Petty  . 
bom  17.S0,  died  [863.     Chancelloi 
1806-7  !   succeeded  as  3rd 
[809.     Henrj    Walton,  pin 
1  .   in  cribed,  "The    Rt.    H  Lord  1 

prinl  is  with  permission 
(sic)   to    Ins    brother,   The   mosi 
ib  d    " 

ton.'      Publishi 


The    Connoisseur 


prints  are  recorded  in 
Nineteenth-Century 
Mezzotints  by  Charles 
Turner,  by  Alfred  Whit- 
man, 1907. 

(3)  In  dot  and  stipple. 
2  id  Earl  and 
1  ft  \l  irquis  Cornwallis, 
A'.i ,'..  I  lovernor-General 
of  Bengal.  Horn  Dee. 
21,  1738,  died  Oct.  s, 
1805.  It  represents  the 
headand  shoulders  only, 
in  uniform,  with  the  rib- 
bon of  the  Garter  over 
the  left  shoulder,  and 
m  the  left  breast. 
It  is  inscribed, "Marquis 
( 'onnvallis.  1 1.  Walton, 
pinx1 ,  J. Osborne, sculp' . 
Published  as  the  Act 
directs,  July  1,  17115. 
No.  5,  Curzon  Street." 
The  original  of  this  pic- 
ture is  painted  on  cop 
per.    in    oils,    and    is    in 

the  pi  «se ol  1  .ad) 

Buxton,  of  32,  Cadogan 

stipple,  and  coloun  d,  w  en 


111  dot  and 
to  be  seen  in 
From  a  bill 


a  few  ni  the  country  houses  in  Suffolk. 

::  it  may  be  inferred  that  Walton  touched 

upthi:  colouring  himself,  as  the  charge,  yj   is.,  for  so 

iving  would,  a  hundred  years  ago,  have 

ive  price.       ( )ne   of  these 

prim  ■  1  -  in  tin-  possessii  m   ol    I'rince  Frederick 


1  'uleep  Singh,  and  it  has 
been  illustrated  in  this 
article.  None  (in 
colour)  exists  at  the 
British   Museum. 

After  1S10,  and  just 
previous  to  the  artist's 
death,  we  find  him  once 
again  devoting  himself  to 
domestic  incidents,  tak- 
ing the  material  for  such 
from  around  his  country 
home.  The  piece  of 
pasture  land  between  his 
house  and  the  road  is  still 
called  by  the  men  who 

JWm  work  on  the   farm   "  the 

*•«■  painter's  meadow."  Just 

then  as  thirty  years  be- 
fore he  took  his  models 
and  his  details  from  the 
city  streets,  so  now  it  is 
country  folk,  the  plough 
boy,  and  the  village  maid 
that  he  depicts,  and  the 
scenery  and  the  sur- 
by  11    walton  roundings    those  of 

everyday  life. 
We  1  annot  help  noticing  in  these,  the  artist's  latest 
productions,  a  certain  similarity  to  the  work  turned 
out  a  little  earlier  by  George  Morland  (whom  Henry 
Walton  may  well  have  known),  though  it  must  be 
confessed  it  is  a  similarity  of  subject  more  than  of 
style  or  technique. 

One  such  picture  is  in  the  possession  of  Mr.  Frere, 
of   Roydon   Hall,  which   in   treatment,  workmanship 


)    AND    THE    OLD    SAILOR 
ALKER,    AND    FINISHED    BY 
AFTER    H.     WALTON 


Hairv  U'allou,  Artist 


and  colouring  is  superior 
to  any  work  of  Morland's, 
which,  more  often  than 
not,  •  are  slovenly  and 
coarse.  It  is  called  The 
Barn  Girl.  The  figures 
are  portraits  of  the  wife 
of  Edward  Dykes,  of  Eye, 
and  of  a  man  named  Flat- 
man,  then  of  Eye,  and 
afterwards  of  Roydon.  It 
was  painted  in  iSin,  and 
was  not  paid  for  till  after 
his  death. 

Another  picture  at  Roy- 
don Hall  remains  still  un- 
finished :  the  artist  was 
engaged  on  it  when  he 
died.  It  represents  a  cot- 
tage interior,  with  portraits 
of  John  Trew,  an  old  ser- 
vant of  Mr.  John  Frere,  of 
Roydon  Hall,  with  his 
grand-daughter.  A  letter 
was  written  to  J.  H.  Frere,  on  the  i;r 

Esq.,  Roydon,  from   Bur- 
gate,  by  the  widow  of  the  arti-t,  on    (1 
which  encloses  a  bill ;  both   of  these  d 
interesting  and  worthy  of  reproduction. 

"  Friday  morn*  Mrs.  Walton  presents  her  com- 
pliments to  Mr.  Frere.  As  it  is  her  desire  to  bring 
all  her  pecuniary  affairs  into  a  settled  state,  and 
having  nearly  accomplished  her  wishes,  she  sends  the 
account  of  the  Pictures  painted  for  his  Family,  with 
their  respective  prices  annexed.  The  two  unfinished 
pieces,  one  of  the  late  Mrs.  Frere,  the  other  of  the 
old  servant  (both  which  Mr.  Frere  took  home  with 
him  the  last  time  he  favoured  me  with  a  visit), 
Mrs.  W.  has  not   affixed  any  price  to,  leaving  it  to 


Mr.     f.    to    put    a    value 
upon  them  him 

The  bill  gives  the  price 
of  the  little  oval  p 

of  a  subject  pic- 
ture, and  the  price  of  a 
miniature 

cord  how  much  was 
paid  for   I 

d  ami  shoulders, 
like  the   portraii 
Lansdowne  and  those  at 
Thornham   Hall. 

I  mallovall/'io   IO     o 

\    1  ■  1  if   M 

5     s     0 
A     Portraii     ol     I 

(small  square)     ...    5     5     o 
A  Portraii  ol  Mr.  I  1   re 

5     5° 
Two    hints    ol     I 


the  K; 
A  Min 


(Lady  Orde 


uents 


\k  beccles  With   regard   to   the 

miniatures  which  Walton 
executed,   they  are  not  very  line:  the  greal 
them  are  still  in  the  possession  of  the  family  ai  B& 

It  will  be  inferred  from  the  letter  printed,  and  tin- 
bill   from  the  widow  to   Mr.    Frere,  that  though   the 
artist  died  in  London  he  was  then  living  at  Burgate. 
Such  was  evidently  the  case.      In  his  will   I 
his  wife,  Elizabeth  Walton.    0      exei  uti  \,  and  to  her 
he  bequeaths  the  farm  where  they  lived.     SI 
daughter  of  Mr.  Rust,  of  Wortham  Hall,  the  village 
of  that  name  adjoining    Bu 
the  cause   of  the  locality  of  their  Suffolk 
and    hence  the  quantity    of  the  artist's  work  which 
remains  still  around. 


0]  D    R( 


ORGIAN,     26,     HATTON 


\RDEN,    E.C. 


The    Years  of    Mahogany 
Chippendales,    1730   to    1740 


I  i  i'1-.ATKn,  in  the  last  article,  of  the  "Lion 
Mahogany,"  1720  to  1730;  and  of  the  complete 
domination  of  Kent  during  those  "  Lion  Mahogan) 
years;  and  pointed  out  the  struggle  for  supre,'.i.io\ 
that  set  in  during  the  next  decade  of  1730  to  1740 
between  certain  French  influences  towards  a  more 
graceful  style  as  against  the  heavier  style  of  Rent, 
who  still  had  a  wide  influence.  This  struggle  lor 
lighter  and  more  graceful  proportions  brought  forth 
as  its  chief  craftsmen  tin-  Chippendales.  The  dei  ade 
of  1730-40,  which  succeeded  the  "Lion  Mahogany" 
years,   out   of  which   it   was  born,  I   have  called  the 


Part  VIII.  The    Rise  of   the 

By   Haldane    Macfall 

years  of  the  Rise  of  the  Chippendal 
features   in  the  development    ol    the  1  hair   were  the 
<upid's    bow    cresting     with     th       1  all     foot, 

which  held  the  fashion  from    1730  to   1750. 

Now  lei  11-  gel  .1  I1r.11  grip  1 
give  as  illustration  to  this  article,  by  the  courtesy  of 
Mr.  Perceval  Griffiths,  a  superb  and  typical  exan 
'a  walnut  double  seat  made  in  the  "  Lion   Maho 
years  of   17 jo   to    1730.     This   is  one   of  the   purest 
types  of  about  the  middf'  of  the  deca  "  Lion 

Mahogany "   craftsmanship,   wh  n    Geo 
was  king  over  us.     And  as  companion   pi< 


The    Connoisseur 


III  A    MM     I       DOUBLE-CH.A 


•:e    of    Tilt 


n  «iil  id,  b)  the  kindness  oi  the  same  owner,  to  show 

ili- mgh  also  made  in 

as  was  much  ol   the  best  furniture  still,  and 

\   r\  interesting  as  showing  the  gadrooned  edging  to 

th    und  i  frame  ol  the  table,  which  was  also  employed 

■  'ii  rails  ol   i  luiis  in  the  like  manner.     Mr. 

enables  me  to  illustrate  the  last  phase  ol  the 

•■  Lion  Mai  i  rnp]     ol   an 

I  i  hair   in   which   the  seat-rail  is 

completed  by  the  handsomely-carved  convex  bulging 

form  of  which   I   spok  i   in  th  i  lasi  artii  le.     Here,  on 

the   uprights  of  th         i  .   the  verj    beautiful 

■  ■  n         ;r; f  i  arving  ivhii  h 

le  of  i  7,50-40  with 
the   Kenl 

1  in    I  Ihippi  xriAi  1  s,    1730-40. 

he  Chippen 
1 

0  end   with 

nongsi 

nakers.       In    the 

... 


decade  the  lion's  foot  passes  out  of  the  fashion,  and 
even  the  graceful  Chippendale  bed-posts  reject  it  for 
their  bases,  and  take  on  more  graceful  forms. 

The  year  1733  saw  Walpole  remove  the  duty  from 
imported  timber  ;  mahogany  was  thenceforth  shipped 
in  very  large  cargoes  from  the  West  Indies.  Its  warm 
and  rich  colour,  its  greater  lightness  than  that  of  oak, 
lis  greater  adaptability  for  carving,  all  brought  the 
new  wood  at  one-  into  wide  favour. 

Now,  whosoever  chiefly  affected  the  London  de- 
signs, the  fact  remains  that  the  early  seventeen-thirties 
saw  the  heav)  "Lion  Mahogan)  "  designs  of  Kent 
being  a  sailed  bj  Frenchified  tendencies  towards 
grace  ;  we  know  that  from  the  tunc  the  elder  Chip- 
p  ndale  ere  to  town  with  his  brilliant  son  and 
op  n  d  Ins  workshops  at  the  end  of  the  "Lion" 
decade  a  marked  movement  towards  the  French 
grac  ifuln  b  gan  to  set  in.  The  top  rail  of  the 
chair  chans  d  from  th  ■  hoop  to  the  squareness  of  the 
"cupid's  bow,"  and  the  splat  was  pierced  into  slats. 

I  showed,  in  the  lasi  article,  these  graceful  qualities 

ippli  :d    to    the    Kentish    "  Lion    Mahogan)  " 

di  ;ign     and  th     la  .1  illustration  was  a  superb  doubl  1 

Mr.  Pen  eval  Griffiths,  in  whii  h  the 

111    lull    possession,    and    the 


The   Years  of  Mahogany 


MAHOGANY 


PHOLSTERED 

ARMCHAIR 

OF    THE 

END 

.  11      1 

HE    LION 

YEARS, 

1730 

SHOW 

ING    THE 

I'll 

GINC 

SEAT 

1-  A  t  ] 

!Y    KIND 

PERMI 

SION    OF 

WM. 

11. 1   Mil   R 

F  S 1  ' 

No.    V.— UPHOLSTERED    CHAIR    Of     1; 
SHOWING  THE  PASSING  OF  THE  LION  MASKS  FROM 
KNEES    OF    THE    LEGS  BY    KIND    PERMISSION 

OF    PERCEVAL    D.  GRIFFITHS,     I 


splats  are  beautifully  pierced  in  upright  slats.  That 
settee  is  an  undoubted  Chippendale  piece,  and  is  the 
finest  example  I  have  ever  seen  of  those  years  when 
Chippendale  brought  his  genius  to  the  craftsman- 
ship and  the  designs  of  the  past  decade,  and  stood 
revealed  as  a  cabinet-maker,  the  consummate  English 
craftsman  of  his  age. 

Now    this    Chippendale   double-seat    gives    us    the 
work  of  an  absolutely  new  genius  ;   it   is  born  out  of 
the  "Lion  Mahogany,"  but   there  is  over  all  a  sense 
of  style,   of  elegance,   of  grace  wholly   foreign  to  its 
parentage.      If  we    set    down   its  birth   to  the   middle 
year  of  this  decade  that  followed  the  "Lion  Mahoganj 
years  and  say  it  was  made  in    1735,  we  shall   be   but 
a  few  months  out  either  way.      This  would   make  the 
younger  Chippendale,  born  about  170(1,  about  twent; 
six  at  its  designing.     His  is  clearly  the   master-mind 
in   his  great  father's  designing  rooms,  and  he  is  in  the 
full    vigour    of    manhood,    impressionable,    forthright, 
and    deeply    imbued  with  his   lather's  skill    in 
the  fashions  and  adapting   them    to   hi 
We,    unfortunately,    do    not    know    ivh 
Chippendale  died.      But' whether  a 
rade,  or  alone,  Chippendale  was  now 


full  strength  of  his  career,  and  rapidl)  forcing  himself 
to  iii"  front. 

Now  let   us  note  another  fact..     It    is  about  this 

time  that  a  wide  fashion  sets  in   for  the  d    1 

sweeps  and  curves.      What  is  known  as  tL     "Mari 
Antoinette  "  Chippendale  chair  is  of  this  time.     Marie 
Antoinette  was  not  yet  born,  but  the  chain 
1  ■ 
are  still  in  the   1  "i>st  ol  th  ■ 

suite  n  turn  d   to   England   in  afti  r  year;       Hen      \ 

see  the  rapi 

ol    the   decoration    which    s  t    in    und  r 

■ 
chairs.  ..night  from  . 


The   Connoisseur 


ANTOINETTE 


MAHOGANY     CHAIR     OF 
RECTOR    YEARS,     1 7  3  ?  -  I  7  3 


and  the  lighter  forms  rapidlj  developed.  The  decora- 
tion "i  Mi  Km  I.  ol  the  i  hail  tool?  on  those  curved 
■■  flat  stra]  ad  of  the  upright  slats  in  the 

thus.'  strapping  which  we  associate  with  Chip- 
:  arl  istrj  and  whii  h  wi  re  lati  i   on  to  develop 
'  i  "ribbon-backs."    These  "strappings" 
n  rally    found    to   be   kept    within    the   original 
ol   the  old  vasi  shaped  splat,  bul  oo  asionally, 
as   in   the  "  Mane  Antoinette,"   ( )hippendale  carried 
ross    the    whole    bai  k.      There    is    no 
happiest    when  clinging   to  the 

of   the   ordinary    type   i  'I 

iiii  Idle  'lass   home,  a 

from  the  I  ime  i  >l 

mid-i  entury. 

;  i  hippendale  "   chairs   show    the 

rapping  that  cam 

I   it  applied 
■  i    cl      naturall) 
h  'ii  in  I  ondon. 

absolutely 

\    wood,   anil    must 

th,    as    1    shall 

L'o 


during  these  ten  years  of  the  rise  of  the  Chippendales, 
the  chair  had  become  more  graceful  and  elegant  in 
general  design — the  back  had  become  squared,  topped 
liv  the  "cupid's  bow  toprail" — the  heavy  lien's  paw- 
had  given  way  again  to  the  "claw  and  ball"  foot — 
the  knee  of  the  cabriole  leg  had  shed  its  heavy  masks 
and  lion's  heads,  and  was  carved  in  low  relief  with 
the  acanthus  and  the  like — the  splat,  first  split  into 
upright    slats,    became    strapped    with    curved    flat 

We  now  come  to  the  famous  "Bury  settee,"  which 
is  an  historic  piece  made  by  the  Chippendales  for  the 
Bury  family.  It  must  not  be  confused  with  the  Early 
( Jeorgian  settee  that  went  with  the  Bury  chair,  to  which 
1  have  ahead)  called  attention — also  made  by  the 
firm  ol  i  hippendale  foi  the  Bury  family.  The  confu- 
sion amongst  writers  upon  this  subject  has,  I  fancy, 
b  en  larj  i  lj  due  to  the  fact  ol  these  two  suites  having 
bi  i  n  male  for  the  Bury  family.  Family  tradition  has 
it  thai  the  Bury  suite  was  made  for  that  family  by  the 
eldei  Chippendale  "before  he  went  to  London." 
This  is  exceedingly  likely  to  be  correct  about  the  suite 
ol    which    I   have  already  written;  it  is  certainly  not 

true  about  the  Bury  settee,  which  I  am  here  about  to 
illustrate.     This   four-backed    Bury    settee   could   not 


The   Years  of  Mahogany 


SHOWING     "FLAT     STRAPPINGS 

have  been  made  before  1735  ;  and  was  more  likely 
not  made  until  1740,  when  the  Chippendales  had 
risen  to  a  supreme  position  amongst  the  London 
craftsmen  of  the  day.  Nor  is  there  any  likelihood  that 
a  county  family  like  the  Burys  would  cease  to  get 
their  furniture  from  the  Chippendales  because  they 
were  becoming  a  famous  London  house— indeed,  they 
would  be  proud  to  support  the  old  man  ami  his 
brilliant  son.     At  any  rate,  the  four-backed  Bury  settee 


shows  the  Chippendale    strapping    am 


b<>\\ 


top-rail  ;  and  1 
of  this  period. 


quiet  but  tine  example  of  their  work 


FORE-DIRECTOR    CHIPPENDALE,    1740-1750. 

The  next  ten   years,   to   the   mid-century,  saw   the 
Chippendales  supreme.     Walpole  fell  from  power  in 
174-',  and  Kent  was  to  pass  away  in   174S;  during 
tins  decade   Chippendale   led   the  design  in  English 
furniture,  to  all  purposes  without  an  equal  to  rival  hi  ti 
and  keenly  desirous  to  hold  the  leadership  ami  main- 
tain it.     It  is  the  period  of  his  most  solid  achievement 
—rid  of  all  Queen  Anne  influences  inn  1 
father.    Unfortunately,  but  little  is  i    10 
until  near  the  end  of  the  decade,  when  he  was  1 
sound  a  financial   position  that  he  married  in 


and  took  .1  shop  in   1740.  emploj  in 

stafl  of  workmen.     But  he  was  soon  to  gr\ 

to  the  world,  in  the  form  ol  a  book,  which  1  nables  us 

in  some  measure  to  recon 

these   ten  years   previous   to   its   publication  ;  for  he 

would  be  little  likely  to  risk  the  enormous  exp 

such  an  undertaking   anl       h    «   re  an  authorit)   and 

had  an  assured  po  i 

Oi  these  fore  Direetoi  years  w 

tionofhisch 

marked  h\  greati  r  perfection  ol  carving,  gi 

;m,l  general  tendency  towards  lightm    s.      11 

rapidly  towards   the    Frem  h  i<  '  •   adapting 

1 
be  almost  defined  as  the  pui 

Po  Mr.  1 '■■a.  eval  Griffiths   1   am 

'  Chippen- 
whicb  are  v  rj  showing  the 

cupid's  bow   top-rail,  the. 
the  gadrooi 
foot. 

■ 
I 


The   Connoisseur 


Xo.    IX. — MAHOGANY    CHI 


:>UR-BACKED     BURY    SETTEE.     I J 


174".    SHC 


carved  frill  to  the  under  part  of  the  top-rail  that 
generally  ends  in  a  rose  on  the  splat.  This  "fringe 
and  tassels  "  decoration  seems  to  have  had  i  onsidi  rable 
\ ogue  during  tliis  decade. 

The  other  chair,  though  in  walnut,  also  gives  a  good 

idea    "i    ill-    develo] ml    ol    the   chair  during  this 

decade.     By  1750,  Chippendale  had  rejected  the  claw- 

and-ball  loot  .is  going  out  ol  the  fashion,  ami  he  was 

about    tn  create   the   light   ami   graceful  and  slender 

styles  that  an    recorded  for  us  in  his  famous  book  of 

The    Director     a    new    style    that    formed   a   marked 

innovation,  hut  which  di  velop  :d  naturally  enough  out 

el  ili    e  solid  years  ol  design,  of  which  I  have  spoken 

,  :     Dirti tor  decade.      I  nany  causes 

vvhii  h  Id  up  to  this  new  development,  and  1  will  show 

1        ind  the  results  upon  the 

furniture  ol  ihe  English  home.      Hut  I  think  suffii  ient 

t\  idence  in  the  evolution  ol  the  1  hair  from  the  "  I. ion 

n\  '"  has  been  sel   forth  to  pro vi    thai  Thi  Unas 

po  itii  'ii  .cm  mgsl  1 ,1  mdon 

befoi     1 1     gave  forth  his  book 

of   The    Director  to   his   subscribers;    and    1    trusl    1 

ai  tlj    that 

ii    was. 

n  i     nt  died  in  17  l8.      I  Ins  was 

Chip  "and   himself  so   firmly 

h  d  111  liis  busim      tl  ti  he  married,  and  in  the 

for  his  business. 


There  is  one  point  that  should  always  be  kept  in  view- 
in  considering  the  Chippendale  years,  whether  we  admit 
his  vast  influence  before  the  printing  of  The  Director 
or  not.  It  is  true  that  Thomas  Chippendale  claimed 
the  rank  of  artist,  but  he  never  forgot  that  he  was  a 
tradesman,  and,  as  a  tradesman,  it  was  his  fust  business 
to  supply  people  with  wdiat  they  wanted  :  what  they 
required  was  the  fashion  of  the  day.  But  what 
Chippendale  did,  and  was  chiefly  proud  to  do,  was 
to  claim  that  he  could  "improve  and  refine  present 
taste."  It  was  all  in  that  "  present  taste."  He  did 
not  pretend  to  .  reate  it  ;  indeed  he  knew  full  well  he 
could  not ;  but  he  essayed  to  lead  it — and  he  achieved 
it  astounding  well.  Chippendale  was  not  above  pub- 
lishing poor  designs  ;  he  did  so  sin.  But  wheresoever 
lie  controlled  the  making  of  English  furniture  he 
wrought  his  work  with  a  master  hand  that  brought 
distinction  to  all  he  did  :  and  when  we  compare  his 
treatment  ol  thi  vagaries  of  his  da)  with  the  treatment 
of  them  by  his  fellows,  we  at  once  realise  how  he 
stood  head  and  shoulders  above  them  all.  For  this 
reason  we  oughl  to  label  the  work  of  his  age  with  his 
name.  We  have  the  additional  evidence  of  his 
upremaC)  in  the  attacks  made  upon  him  in  the 
tcci  isors. 

( hasping  this  point  that  Chippendale,  from  youth 

lo  death,  was  not   s, ,  much  a  creator  as. in  adaplei  and 
pmiiiei  ol   vogues,   we  come  to  another  point   which 


The   )'cars  of  Mahogany 


cannot  be  too  keenly  insisted  upon — the  far  too  great 
weight  placed  upon  the  evidence  of  books  of  design 
that  began  to  be  published  about  the  mid-century,  of 
which  The  Director,  by  Chippendale,  that  we  are 
about  to  discuss,  is  the  most  famous,  but,  contrary  to 
the  generally  accepted  idea,  by  no  means  the  first.  It 
should  never  be  forgotten  that  these  expensive  books 
were  nothing  more  than  glorified  trade  catalogues  ; 
and  that  they  contained  by  no  means  the  most  normal 
and  characteristic  types  of  the  furnishments  designed 
or  made  by  the  authors  or  issuers.  When  we  come  to 
Chippendale's  Director  in  the  next  article  we  shall  find 
no  hint  of  the  claw-and-ball  foot,  for  which  soni 
finest  chairs  are  so  famous;  and  though  this  probablj 
shows  that  he  looked  upon  this  foot  to  the  chair-leg  as 
having  belonged  to  his  past  designs  of  the  fore  Director 
period,  we  must  not  conclude  from  that  fact  that  he 
wholly  discarded  it — for  we  shall  find  him  employing 
it  upon  the  legs  of  his  "ribbon-back"  chairs,  which  he 
was  about  to  give  to  the  seventeen-fifties  and  seventeen 
sixties. 

William  Jones  had   published  in  1739  The  Gentle- 
man's  or  Builder's  Companion,    \\\    whii 
pseudo-French    furniture    is    displayed,     showing 
any  rate  the  coming  French  vogue,  and  in 


year  of   1740    The    City   and    Country    Builder's   and 

Workman's  Treasury  of  Designs  di 

what   criidc-  designs  of    Hatty    Langley    .hi 

Langlej    "  foi    the    u  ;e    ol    a  orkmen         I 

I  angle)     1 1  mtempl  ol   thi   cabin  t-mal    1    of  the  day, 

as    poured    forth    in    his    preface  — (th         ! 

inflict   prefai  es  upon   mm 

bear  ii  ing  wi 

the    fashion    in    tin     fore-ZV; 
prove    thai    <  hipp  n 
men  of  hi;  in  it 

book    is  thai  amon 

pression  1  01  me    is    thai 

French  ideas  were  crudel)  ntly   joined 

to  the  hi  avy   1 

I 

us  rivals  to   hind  r 


The    Connoisseur 


No.  XI.- 
'IIIE    CHIP] 


IDALE    FORE- 


p  riod  whi«  h  the  i  ourtesy  ol  Mr.  Perceval  Griffiths  lias 
enabled  me  to  put  before  the  student  and  collector, 
were  wrought  by  their  hands  or  under  their  guidance. 
And  before  coming  to  The  Director,  let  me  again 
wain  the  student  onlj  to  rely  on  these  elaborate  trade- 
catalogues  Ol  tin-  nival  i  raftsmen  in  the  must  i  autious 
way.  They  haw  their  value  ;  but  ii  is  by  no  means 
a  high  value.  I?hej  are  most  misleading  unless  they 
are  treat  :d   with  the  utmost  i  aution.     They  give  but 

i    [ impress i    the   full  achievement    oi    theii 

authors.      The    Director  is   barren  ol    the  great  claw- 
and-ball  designs  which  are  th    supreme  masterpieces 
of  Chippendale;  just   as  the   Adams   should   not   be 
b)  theii   printed  works,  or  we  should  be  mis- 
led  into  the  id  a   that   no  single  piece  i  >l    main  iganj 
furniture   owed    its  origin   to    them.      It   would    be   a 
but     i"   Heppl  whit      it    we  onlj    judged   his 
I  iv    his    published    designs.       And    Shi  raton 
would   n  i\   i    have   reached   to   his   « ide   fame   it    his 
only  witn  word. 

Nothing,    fi  ore  misleai  ling 

than   the   impression  prodm    d    bj     ?  'it   Dire,  tor  that 
Chippem  i  1.1 

n  far  i  [ualitii     than  gilding, 

i  ,  i  m  1 1   r  of  fai  reatl    employ. 


We  must  now  enter  more  carefully  into  Chippen- 
dale's life  and  position.  First  of  all  as  regards  his 
position.  Born  in  the  middle  years  of  Queen  Anne's 
reign— about  iyog — he  came  oi  a  lather  who  was 
already  famous  in  Worcestershire  as  a  gilder,  a  carver, 
and  joiner,  and  particularly  famous  for  his  carved  gilt 
picture-frames.  Tt  will  be  found  that  Chippend.de 
signs  his  name  as  a  "  joiner  "  ;  and  as  a  "  joiner  "  he 
is  spoken  of  in  all  the  earlier  records  of  him.  A 
"  :i  mi  <  "  u.i  i  oi   superior  rank  to  "  cabinet-makei   '  ; 

it    was   a    status   jealously   guarded.      One   cannot  read 

these  eighteenth-century  works  on  furniture  without 
earlj  realising  this  fact.  Some  writers  have  been  at 
pains  to  ii  \  and  explain  awaj  his  title  ol  "joiner."  As  a 
mattei  ol  fact,  like  his  father  before  him,  he  was  a 
tine  gilder  as  well  as  carver;  but  neither  ol  these 
,e  tiviti  -  would  have  made  him  what  he  became.  He 
was  a  creative  craftsman;  he  had  many  workmen 
under  him  to  carry  out  his  instructions  in  carving 
or  in  gilding  ;  he  had  none  who  could  en  at  tyl 
and  design  as  he  did.  "Joiner"  was  a  word  which 
has  sim  e  largi  lj  i  hanged  plai  es  with  "  cabinet- 
maker" whereas  Chippendale  would  have  been 
mortallj  off  rid  d  had  anyone  so  changed  the  titles 
in   his  d, 


'  HUDIBRAS 
BY    RALPH    WOOD    (175O-I772) 

(In  the  Stoner  Collection) 


Pottery  and 

Porcelai 


The   George  Stoner  Collection  of    Figures  and  Groups  by  the 
Ralph  Woods  of   Staffordshire         Part  I.         By  FranK  FalKner 


The  nation  owes  a  debt  ol  gratitude  to  th 
late  Sir  Augustus  Wollaston  Franks,  K.C.I!.,  for  Ins 
presentation,  amongst  other  valuable  treasures,  ol  a 
small  collection  of  figures  modelled  by  the  Ralph 
Woods. 

At  the  time  of  the  gift  very  little  had  heen  written 
upon  our  production  in  this  particular  school  of 
earthenware  figures,  and  the  labels  attached  to  the 
interesting  little  objects,  deposited  in  the  < 
section  of  the  British  Museum,  bore  dates  which  have 
been  altered  in  accordance  with  more  recent  know- 
ledge ;  the  generous  donor  no  doubt  recognised  an 
excellence  in  these  statuettes  which  caused  them  to 
stand  out  in  prominence'  from  the  vast  number  ol 
ordinary  so-called  Staffordshire  figures. 

The  family  of  Wood,  connected   in   tin    •  arl 


of  the  eighteenth  century  with  a  tri 
the    Wedgwoods    ol    Bursle  n,    bee   ne 
"Big   House"  Wedgwoods,  inheriting   not  only  por- 
tions ol   tii'  ir  valuable  estates,  but,  in  the  p  rsons  of 
the  two   Ralph  Woods,  father  and 
tradition   in  the  an   <  I    i ■> >< h  11  in.u • 
( Ine  distinguished   memb  i    i  i  ily  in  the 

■  ntury  was  Aaron  >'■ 
block  cutter,  who  designed  most  i  >l 
whii  ii  tli     •  o\  :ted  "  s  ilt  gl; 

:     I lels   and  pitcher  blocks  still   retrain 

in  the  possession  ol   one  o 

Mr.  John   Badd(  ley-Woo  !  :  Hall,  Ludlow. 

Another  member  was  Enoch  Wood,  known  as  "  the 
Father  ol  the  Potteries,"  who  became  an  able  sculptor. 
He,  as  a  young  man  of  twenty- two,  wasai  corded  sittings 


Nos.    I.   to    V. 


The    Coiuioisseiir 


by  John  Wesley,  then  in  the  seventy- 
eighth  vcar  of  his  age,  the  result 
achieved  being  the  well-known 
Wesley  bust,  pronounced  by  the 
great  divine  to  be  the  best  portrait 
ever  taken   of  himself. 

It  may  here  be  noted  that  from 
original  correspondence  kindly 
placed  at  the  disposal  of  the  writer 
b\  .1  member  of  the  family,  a  direct  descendant  of 
the  Enoch  Wood  branch,  the  exact  date  and  details 
of  this  notable  piece  of  work  have  1"  come  established. 

Beautiful  as  are  the  salt-glaze  moulds  of  Aaron  Wood 
and  the  skilfully  modelled  busts  of  Enoch  Wood,  the 
early  figures  anil  groups  of  the  two  Ralph  Woods, 
decorated  in  their  delicately  coloured  glazes,  maybe 
cited  as  being  the'  most  artistic  and  original  produc- 
tions in  earthenware-  figures  of  any  of  our  great 
English  potters,  with  the  one  exception  of  that  extra- 
ordinary genius  John  Dwight,  of  Fulham,  of  whose 
work,  in  an  entirely  different  school,  so  very  few 
examples  are  known   to   remain. 

Ralph  Wood,  born  29th  January,  1715,  died  De- 
cember, 1772,  son  of  Ralph  Wood,  born  1676,  married 
\1,![\  Wedgwood.  He  was  the  tenant  and  protege  of 
Thomas  and  John  Wedgwood,  of  the  "Big  House," 
who  were  uncles  of  his  wife.      Josiah   Wedgwood  also 


NO.    VI. — SAUCEBOAT 


Jr"^  married  one  <  if  their  nieces,  and  these 

two  young  potters  were  allowed  at 
that  period  to  occupy  portions  of 
the  workshops  as  they  became 
relinquished  by  Thomas  and  John 
Wedgwood,  whose  wealth  had  by 
then  sufficiently  accumulated  to 
justify  their  almost  complete  retire- 
ment from  the  pottery  business. 
Three  brothers  of  the  Wood  family,  viz.,  Ralph. 
Aaron,  and  Moses,  were  at  different  periods  tenants 
of  the  "Big  House"  Wedgwoods.  The  first-named, 
no  doubt,  was  associated  with  them  until  1766,  or 
even  later.  His  sons,  John,  born  1746,  died  1797, 
and  Ralph,  born  174K.  died  1705,  set  up  in  business 
for  themselves,  but  were  obliged  to  close  down  in 
1773.  Financed  afterwards  by  their  uncles,  they 
both  eventually  became  successful  potters,  John  at 
Brownhills,  near  Tunstall,  and  Ralph,  the  figure 
modeller,  at  Burslem,  opposite  to  Mitchell's  Hill  Top 
works,  north  of  Fountain    Place. 

There  is  a  family  tradition  to  the  effect  that  in 
1772  Ralph  Wood,  senior,  had  then  been  for  some 
time  in  partnership  with  his  son  John,  and  later 
John  and  his  brother  Ralph  carried  on  the  same- 
works,  where  for  a  short  period,  about  17S6,  Ralph, 
junior,  was  joined   by   his  cousin,  Enoch   Wood,  who 


II     ,      VI  II.      AND      1\.        I'AIR     OF     DOI. 


<|<!I.      I    ,       IMi 


NO.    XI.— ALDERMAN     BECKFORD  No.   X.— THE     VICAR     AND     MO  No.  XII. BENJAMIN     FRANKL1 


No.    XVII. — THE    FLUTE    PLAYER 


■'        V"X' 


The    Connoisseur 


eventually   built,  and    occupied 

for   many    years,    the    celebrated 

Fountain   Place    works    in    Burs- 

lem.        Mr.    George    Stoner    has 

for  some  time  patiently  gathered 

together    many    examples  of  the 

work  of  the   Ralph  Woods,  and 

more  particularly  is  his  coll   i  tiori 

rich  in  spei  imens  decorated  with 

coloured  glazes. 

Without  going  too  much   into 

technical    details,    fully   set   forth 

by  our  recognised  writers    upon 

ceramics,  it  should  be  explained 

that  the  Staffordshire-  potters  have 

adopted    on   broad    lines    two 

distinctly     different    methods    of 

i  L  '  oral  ing  their  coloured   figures, 

the    early    process  being  that   of 

colouring   their  Lead   glazi  s   with 

metallic    oxides    and    applying 

them     with    a    brush    or     pencil, 

and   the   other    by    glazing    first, 

then     applying    enamel    colours 

upon  the  glazed  and  fired  surface, 

and  again   firing   the   object   in  a 

No     XI' 
muffle  kiln  at  a  low  temperature. 

In  the  former  method  the  beautifully  subdued 
coloured  glazes  having  been  thus  applied,  a  certain 
amounl  of  irregularity  is  discernible,  and  here  and 
there  spaces  upon  the  surface  of  many  specimens 
where  the  brush  has  missed  have  accidentally  been 
Left  quite  unglazed. 

These  differently  coloun  <1  glazes  blend  or  merge  into 
eaeh  other  with  very  artistically  soft  effect,  and  have 
b  n  termed  "  flown  "  colours  by  some  writers.  This 
definition  is,  however,  also  applied  by  the  working 
potters  tu  results  entirely  different  and  consequent 
upi  'ii  if  I.  i  tive  firing.  In  i  750 
the  popular  term  used  in  describ- 
ing  similar  product  ions    was  that 

of  "  mottled  "  or  "cloudy"  ware-. 

I  he    marking  w  ilh  tie  ir  nann  s 

"i     j  ml'":     In.    ill.    potters  upon 

their  wares  has  been  a  fas<  inating 

tO     students 

a\v\  collectors  hi  '  1  ramii  s,  and  n 

would   appeal   as  though 

rules  w  :  1  adopted 

ol  Staffordshire.     W  hile 

find   if"  seveni  -nil]  century 

mill!  1  1 1 . ■  1  i 

0  called  "  slip    -1    'Tofi  1,  \,,s.  \\ 


those  of  the  early  eighteenth 
century  only  occasionally  marked 
their  productions,  and  in  the  case 
of  Thomas  Whieldon,  who  was 
working  in  1740.  and  who  Lived 
till  179S  (and  was  made  the 
High  Shi  r, if  1.1  Staffordshire),  we 
have  not  left  to  us  one  single 
example  bearing  his  horn  Hired 
name. 

The    Ralph  Woods    not   only 

adopted  occasionally  two  distinct 

marks,    viz.,    "  R.   WOOD"   and 

"  Ra.    Win  id,    Burslem,"    but    in 

addition     we     find    a     series     of 

mould    numbers,   to    be   referred 

to  in  a   subsequent   article,    and 

these-,     like     their     names,     they 

clearly  impressed  into  the   paste. 

As  the  mark  "  R.  WOOD"  in 

capital   letters  has  only   been    so 

tar  found  upon    examples  dei  0- 

rated  in  the  earlier  manner,  it  is 

natural   to  assume  that  this    was 

adopted   by   tin-  father,  ami  the 

mark     "  Ra.     Wood,     Burslem" 

(capitals  and  lower-case   letters), 

found  upon  objects  both  with  the  early  coloured  glazes, 

as  well  as  those  coloured  with  enamels,  would  appear 

to  have  been  in  all  probability  used  by  the-  son. 

Until  comparatively  recent  days  the  earthenware 
figures  of  Staffordshire  have-  been  described  as  having 
frequently  been  imitations  or  copies  of  the  china  ones 
manufactured  at  the  Chelsea  or  Derby  factories. 
This  accusation,  however,  cannot  truthfully  be  brought 
against  the  Ralph  Woods,  as  a  distinctly  original 
character  both  of  design  and  decoration  is  observable 
m  the  work  of  the  two  potters  under  discussion; 
indeed,  Mr.  Stoner  informs  us 
that,  so  far,  he  has  not  yel  seen 
any  ( Ihelsea,  I  >erby,  or  other 
1  hin a  group  copied  in  the  models 
ol  the  Ralph  Woo.N. 

Nor  are  their  designs  limited 
to  an  h  as  mighl  please  only  the 
inhabitants  ol  the  cottage.  The 
dignified  group  of  Hudibras 
mounted  upon  his  wearj  1  ild 
steed  (s.e  coloun  d  illustration 
plate ),  ami  man)  ol  the  mori 
la  iii  figures,  would  have  suil  ■ 
ably  adorned  the  mam  Lpi 
and  •  abinets  ol  less  humble  folk. 
This  remark  might  also  apply  to 


The  George  Stoner  Collection 


many  of  the 
Staffordshire 
s  tatuettes 
made  b)  oth  i 
and  later  pot- 
ters. The  fai 
of  Hudibras 
s  h  o w s  great 
p  o  w  e  r  o  I 
m  o  d  e  11  i  n  g, 
and  the  whole 
conception    is 


m 


n  1 1 


clever.  The 
mould  num- 
ber Of  this 
piece  is  42. 

To  revert  to 
the  effects  pro- 
duced by   the  No.  XIX.— SHEPHERDESS      No.  XXI. 
two    different 

methods  of  decoration,  those  of  the  coloured  glaze 
school  are  much  more  subdued  in  their  tints  l>\ 
reason  of  the  somewhat  limited  range  of  chromatic 
scheme  appropriate  i>>  the  proc  :ss  :  thus  the  faces  and 
hands  could  not  be  represented  in  true  flesh-tints. 
Moreover,  it  is  hardly  possible  by  the  camera  or  any 
other  means  to  do  justice  in  reprodui  ing  objects  thus 
decorated.     Afterwards,  when  the  enamelling  method 

was   developed,   more   positive   colours   in  all 

became  attainable,  with  the  result  that   the  schem     ol 

decoration  was  frequently 

crude  and  garish. 

Mr.  Stoner's   enthusi- 
astic appreciation  of  the 

Ralph  Woods'  work  has 

resulted  in  an  important 

collection  of  nearly  three 

hundred    examples,    and 

we  are   enabled  to  illus- 
trate   a    characteristic 

selection    t  herefrom. 

When  a  number  of  these 

figures    and    groups  are 

assembled    together, 

their  beauty  of  colouring 

and   vigorous  originality 

of  modelling   may  at 

once  be  recognised,  and 

there    runs    through    the 

collection  a  harmonious 

scheme    of  subdued 

colouring  quite  peculiar 

to  this  particular  si  hool, 


uch   to 

M  i 

in  the 
full   - 
treat m 

Such    i 

nee   in 
jnising 

the    «  l 

these  men  and 

exam] 
helostsheef     Xo.xx.    shepherd         bearing  either 

I 
marks,    lor   onl)    occasionally   are   specimens 
found  with   thi-    names    or   mould  numb  - 

Although    research    up    to    th      pr  senl 
revealed   chiefly   figures  and   groups  as   having 
the  products  of  the  Ralph  Woods,  sufficient  evidence 
exists   to    prow    that    other    objei  I 
lb. -ii    l.i'  tor) 

A   sel    ol    three   obelisks,    marked    wit]     I 
"Ra.  Wood,    Burslem,"  and  the  mould  number  84, 
are  known,  and  until   recently  wen-  supposed  to  have 
as  candle- 

top  sue,-,  sling   the    idea 
in.   This  is  now  i 

with    Mr.    Stoner's  kind 


The    Connoisseur 


whole  mounted  upon  a  square  pedestal  with  oval 
medallions  upon  each  of  the  four  panelled  sides. 
The  top  and  botto  n  borders  of  the  pedestal,  moulded 
with  acanthus  leaves,  are  also  decorated  with  early 
gilding,  and  the  addition  of  the  urn  gives  a  remarkable 
finish  to  the  design. 

Xos.  i.,  ii.,  hi.,  iv.,  and  v.  represent  a  set  of  five 
\ases,  somewhat  rococo  in  design,  and  bearing  evident 
characteristics  of  the  work  of  the  Ralph  Woods.  The 
decoration  of  these  interesting  specimens  is  of  a  most 
beautiful  deep  green  glaze. 

The  sauceboat  (No.  vi.)  is  a  clever  but  dubious 
conception,  consisting  of  a  fox's  head  and  a  swan 
combined,  the  neck  of  the  swan  forming  the  handle, 
and  the  dish  anoth'-r  swan,  with  its  neck  designed  as 
the  handle.  It  is  a  striking  composition,  and  examples 
exist  oi  the  sa subject  decorated  in  enamel  colours. 

A  pair  of  flower-holders  of  dolphin  design  and  a 
well-proportioned  vase  (Xos.  vii.,  viii.,   and  ix.),  and 


other  objects  known  to  collectors,  bear  testimony  to 
the  fact  that  the  efforts  of  the  Ralph  Woods  were  not 
alone  confined  to  the  production  of  figures;  indeed, 
time  may  probably  prove  that  not  a  [\:\v  specimens 
decorated  with  coloured  glazes,  and  hitherto  attri- 
buted to  Thomas  Whieldon,  may  in  reality  have  been 
their  workmanship. 

With  regard  to  their  models  of  groups,  a  proaiinent 
place  must  be  accorded  to  the  well-known  subject  of 
"The  Vicar  and  Moses  in  the  Pulpit"  (Xo.  x.), 
certain  examples  of  which  bear  the  name  "R.i,  Wood. 
Burslem,"  and  the  mould  number  62  clearly  impressed 
upon  the  base.  Quite  probably  this  clever  production 
was.  as  to  its  design,  the  work  of  Aaron  Wood, 
brother  to  Ralph  Wood,  senior,  for  we  have  a  record 
to  the  effect  that  though  "he  never  drank  wine  or 
ale,  smoked  or  whistled,  vet  he  was  the  merriest  man 
in  the  country." 

Xo  doubt  both  the  Vicar  and  Moses,  his  clerk,  were 


i 


Pi 


No.    XXIX 


Mo.  XXX.       i>i 

,0, 


The  George  SI  oner  Collection 


0> 


£    ^ 


No.    XXXII.— THE 


;[•:]■  i'KK 


intended  to  represent  actual  individuals — hitting  ofi 
the  rollicking  parson  of  the  period.  One  has  here, 
in  the  early  col. mred  glazed  examples,  with  the  ex- 
quisite throbbing  brown  manganese  upon  the  pulpit, 
a  fine  instance  ot  vigorous  modelling;  an  opinion 
may  be  expressed  that,  as  in  the  case  ol  all  other 
marked  examples  of  this  group  that  have  come  under 
the  writer's  notice,  the  specimen 
in  the  British  Museum  might  be 
described  as  bearing  the  name  of 
"  Ra.  Wood,  Burslem,"  for  the 
"a,"  though  not  visible,  has  been 
allowed  for  in  spacing  the  lettering, 
and  doubtless  has  beco  tie  brol  n 
off  the  little  hand-stamp  or  die  in 
course  of  usage.  In  the  genuine 
examples  the  pulpit  is  lettered 
"THE  VICAR 
AND  MOSES." 
The  portrait  statu  :tte  of  Aid  r- 
man  Beckford  (No.  xi.)  show-,  thai 
Ralph  Wood  was  an  exponent  of 


ither 

han   1 

if  mo 

lelling 

tatue 

by    K 

he    u 

:alth) 

n    the 

aim 

ieorg! 

III. 

,ii    ■  nli|  :cts.       It   is,  an 
in  miniature,  tal  i  luildhall 

f.   Moo  pi 

author    of     /a  Vathek 

The    solt    i  ,  i  upon    this 

I  ,11011   in 
a  most  artistii .    : 

No' 

l.lin  (No. 


1    in    this 


Vndi 


The    Connoisseur 


decorated  both  in  the  coloured  glazes  and  in  enamels, 
and  the  mould  number  thereof  is  43. 

The  group  ol  "St.<  leorge.  and  the  Dragon"  (No.  xiii.), 
although  possibly  not  quite  so  satisfactory  as  to  its 
modelling  in  certain  details,  is  a  fine  piece  ol  Staf- 
fordshire figure-work,  rich  in  colouring  and  spirited 
in  design.  As  in  the  ease  of  the.'  "  Vicar  and  Moses," 
tins  group  has  been  copied  and  re-copied  by  later 
potters,  always  gradually  losing-  its  original  charm  and 
merit,  until  comparison  between  ,1  modern  example 
and  a  genuine  early  specimen  produces  an  effect  oi 
absolute  dissatisfaction.  The  mould  number  ol  this 
group  is  23,  and  the  mark  "  Ra.  Wood,  Burslem." 

The  model  of  the  old  man  with  a  crutch  and  stick 
(No.  \iv.),  mould  number  54,  is  a  charming  portrayal 
of  placid  decrepitude,  lb-  has  lot  a  companion  an 
old  woman  (mould  number  55).  She  does  not 
happen  to  be'  in  this  collection  at  present.  The)' 
are  an  excellently  modelled  pair,  and  examples  are 
marked  "  R.  WOOD."  They  are  known  as  the 
"  Old    Age  "   figures. 

The  mark  "  R.  WOOD"  is  found  upon  another  pair 
of  figures  of  haymakers  (Nos.  xv.  and  xvi.).  Instances 
of  these  bearing  any  mould  numbers  have  not  yet 
been  revealed.  Their  workmanship,  however,  is  ol  a 
very  high  order  of  merit. 

Two  fine  groups  of  pastoral  subjects,  "The  flute 
Player"  and  "The  Bird-cage"  (Nos.  xvii.  and  xviii.), 
constitute  a  beautiful  pair.  These  are  known  bearing 
the  mark  "  Ra.  Wood,  Burslem,"  and  the  mould 
numbers  88  and  89,  and  in  many  res] nets  are  as 
delightful  as  they  would  have  been  had  they  been 
made  in  the  popular  paste  of  Chelsea  or  Derby,  and 
are  probably  more  rare.  They  are,  how  :ver,  entirely 
original  models,  and  are  characterised  b)  most  refined 
colouring.  Later  examples  at'-  known  of  this  pan 
considerably  deteriorated  in  general  effect,  and  deco- 
rated in  enamel  colours,  also  in  plain  uncoloured 
1  ram    ware. 

\  delightful  pair  ol  statuettes  are  Nos.  m\.  and 
xv,  "Shepherdess"  and  "Shepherd,"  equally  as 
h.  am, ml  a-,  -aie  li  subjects  made  ,1,  the  1  hina  fa<  tori.  s. 


and  infinitely  more  difficult  of  discovery.  In  the 
middle  of  this  pair  is  shown  No.  xxi.,  a  charming 
rendering  of  the  "  Lost  Sheep,"  decorated  with  a 
slight  amount  of  early  gilding  and  with  the  mould 
number  9.  This  figure  is  a  very  attractive  example  of 
careful  modelling.  The  delicate  colouring  of  the 
glazes  upon  these  three  objects  is  most  remarkable. 
This  "Lost  Sheep"  figure  is  known  decorated  in 
enamels,  also  in  the  uncoloured  cream  ware.  A 
variant  of  the  same  subject  is  a  figure  of  the  shepherd 
earning  the  sheep  under  his  arm,  excellently  modelled 
and  in  the  uncoloured  cream  ware. 

Nos.  xxii.  and  xxiii.  represent  another  pair  of 
Shepherdess  and   Shepherd. 

A  set  ol  three  figures  of  musicians  or  troubadours 
are  worthy  of  note  (Nos.  xxiv.,  xxw,  and  xxvi.). 
Xo.  xxv.  bears  the  mould  number  7 1,  and  possibly  his 
companions  may  lie  found  numbered  70  and  72.  As, 
however,  the  mould  numbers  do  not  appear  always 
to  run  consecutively,  it  is  not  quite  safe  to  assume 
that   such   is   the   case. 

"(.'upid  ridmg  upon  a  Lion  "  and  the  companion 
"Cupid  upon  a  Lioness''  (Nos.  xxvii.  and  xxviii.)  are 
a  dignified  pair  of  groups  with  slight  early  gilding,  a 
form  of  decoration  found  occasionally  upon  this  class 
of  figures.  These  are  numbered  45  and  46  respec- 
tively, and  they  gain  in  effect  by  reason  of  the 
pedestals  upon  which  each  is  mounted.  These 
pedestals  are  a  particularly  important  feature  of  the 
Ralph  Wood  school,  and  are  generally  without  glaze 
underneath  when  the  object  is  decorated  in  coloured 
glazes.  In  this  connection  Hud ibras  (coloured  plate), 
the  elephant  (No.  xxix.).  the  seated  stag  (No.  xxx.), 
tlie  lion  (No.  xxxi.),  mould  number  32,  the  gamekeeper 
(No.  xxxii.),  mould  number  36,  and  Van  Tromp 
(No.  xxxiii.),  mould  numb  1  37,  ma)  bi  pointed  out, 
also  the  setter  dog  (No.  xxxiv.).  He  is  one  of  a  pair, 
and  has  lor  companion  oni  ol  lie-  old  fashioni  d  pointer 
dogs,  who  also  sits  upon  a  dignified  pedestal  or  plinth 
with  a  cushion  of  tasselled  corners,  and,  let  us  hope. 
some  >\.\\  will  cone  io  ibis  collection  and  fulfil  his 
companionship. 

United.) 


45/ 


The  Armourers  of  Italy 


Part  II. 


By  Charles  ffoulKes 


Where  the  Missaglia.s  relied  entirely  on  the 
sound  construction  of  their  work  and  the  grace  ol 
line  without  further  ornament,  the  Negrolis,  on  the 
o  t  h  e  r  hand, 
though  ex- 
perts in 
construc- 
tional work, 
launched 
forth  into 
elaborate 
decoration. 
This  outburst 
of  ornament 
which  marked 
the  period  of 
the  late  Re- 
naissance was 
partly  due  to 
the  e  xtra  va- 
gance  and  os- 
tentation  of 
the  patron, 
and  partly  to 
desire  of  the 
craftsman,  by 
this  time  per- 
fect in  his 
technique,  of 
still  further 
showing  off 
his  skill.  As 
a     natural 

NO.   X. — ARMOUR    OF    CHARLES    V.,  short       t  ]'  111  ■' 

MADRID         A.    I3Q        BY    THE    BROTHERS 

negroli,   1539  art 


and  the  so-called  decoration,  although  marvellous  in 
its    minute    execution,    became    meaningless,   out   of 


[FTEENTH  CENTURY 

place,   and   therefore   without    part    or   lol     I 
Hi  craftsmanship. 

At   the   beginning    ol    this    art i.  It-    we    noticed    the 
rules  that  governed   the  work  ol  the  am 
I,.,   referring  t<>  the  illustrations  ol   N 
see  how  he  broke  them  one  by  one,  de 
utilit)    "i    the  armour,   imitatii      the  human  form   in 

hearing   a    I 

ng  an  and  natui 


The    Connoisseur 


They  never  went  to  such  extremes  as  Pfeffenhauser 
of  Augsburg,  or  as  their  compatriot  Picinino  ;  but 
they  certainly  led  the  way  on  the  downward  path 
in  true  craftsmanship.  The  Negrolis  were  employed 
frequently  by  Charles  V.,  and  also  by  Philip  II.  of 
Spain,  who  gave  large  orders  to  the  Colman  family 
of  Augsburg.  So  keen  was  the  rivalry  between 
the  two  families  that  we  find  on  a  pageant  shield 
(No.  241,  Madrid)  1  )esiderius  Colman  introduced 
the  figure  of  a  bull,  supposed  to  typify  himself, 
goring  a  Roman  soldier,  on  whose  shield  is  engraved 
the  word  "  Negrol."  Whatever  we  may  think  of 
the  decorations  of  the  Negrolis  and  their  school, 
the  misapplication  of  which  must  surely,  in  some 
cases  at  any  rate,  be  admitted,  we  can  have  nothing 
but  unstinted  praise  for  the  masterly  technique  and 
the  exquisite  detail  which  invariably  mark  their 
work. 

Bartolomeo  Campi,  another  maker  of  enriched 
armour,  was  bom  at  Pesaro  early  in  the  sixteenth 
century.  He  began  his  career  as  a  craftsman  by 
engraving  metals  and  goldsmiths'  work.  Angelucci, 
in  his  Documenti  inediti  per  la  storia  delle  armi  da 
fmii, 1  italiane,  gives  extracts  from  Campi's  biography 


PARADE    BURC.ONET    OF 
,    MADRID  BY     II' 

END  OF  SIXTEENTH  CENTURY 


The    Connoisseur 


written  by  Pro- 
mis.  In  1547 
C  a  m  p  i  w  a  s 
court  armourer 
to  Charles  V., 
and  directed 
the  fetes  at 
Pesaro  in  hon- 
our of  the  mar- 
riage of  Guido- 
baldo  II.  and 
Vittoria  Far- 
nese.  Resides 
being  an  artist 
in  metal-work, 
he  was  an  en- 
gineer, and  was 
retained  by  the 
Republic  of 
Siena  and 
Venice.  He 
directed  opera- 
t i  o n s  at  the 
siege  of  Calais, 
and  served 
under  the  Duke 
of  Alba  in 
F 1  a  n d e  r s  in 
156S.  The 
Duke  wrote  of 
him  in  a  letter 
dated  | uncord, 
1569:  "He  is 
the  best  man 
I  have  met  with 
since  1  have 
known  men.    1 

di :  say  only 

engineers,  but 
men  of  any  sort 
— very  steady 
and  pleasant  in 
ins  work."    He  N"   xvnl      decorated  suit 

..„,      ,  DESIGN   ATTRIBUTED  TO  GIULIO   ROMi 

was    killed     by 

•  hi  arquebus  shot  at  the  siege  of  Haarlem  on 
March  7th,  1575.  His  masterpiece  is  a  suit  of 
pseudo-Roman  pageant  armour  in  the  Madrid  col- 
lection, made  foi  <  Varies  V.  of  Spam.  The  1 
a  marvellous  example  ol  metal-work,  is  modelled 
on  the  human  torse  decorated  with  Medusa's  head 
and   -olden   scro  .  laliers  an    modelled 

in  the   form  of   two  lion  masks  in  blackened    sled 

with  golden  eyes.     The  bui lei  is  light  and  graci 

ful    in   d  teel,    with    gold 


enrichments. 
The  cuirass 
bears  the 
inscription : 
BARTOLOM  EVS 
CAMP1  AVR1FEX 
TOT1VS  OPERIS 
ARTIFEX  QVOD 
ANNO  INTEGRO 
1  N  Ii  I  G  I  l:  A  I 
PRINCIPIS  SV] 
NVTVI  OBTEM- 
PERANS  GEMI- 
NATO  MENSE 
PERFECIT.         It 

is  strange  that 
a  m  a  n  w  h  o 
merits  the 
Duke  of  Alba's 
high  esteem  as 
an  engineer, 
and  who  could 
produce  the 
pageant  suit  at 
Madrid,  is  not 
to  be  found 
among  the  list 
of  Milanese- 
armourers. 
Possibly  this 
list  records 
only  the  actual 
makers  of 
a  r  m  o  u  r,  a  n  d 
Campi  was  but 
a  decorator, 
a  n  d  as  sui  Ii 
not  admitted 
into  the  same 
gild. 

The  da  mas 
c  e  n  i  n  g  of 
metals  an  d 
enriching  of 
armour  was  also  practised  by  1'ietro  Giovanni 
Figino,  who  seems  to  hue  introduced  inlay-work 
into  the  decoration.  Benvenuto  Cellini,  Donatello, 
and  Pollajuolo  also  worked  as  designers  ol  decorative 
armour.  To  the  pencil  of  Giulio  Romano  are 
ascribed  some  ol  tin  oxer-ornate  suits,  helmets,  and 
shields  of  this  period.  In  these  we  can  trace  the 
painter's  hand,  for  the  designs  an  often  entirely 
unsuited  for  hammered  metal-work,  and  represent 
battle  scenes  with   such   minuteness  that  the  <renenil 


■si  [■:    n  All  III  1  Mill 


The  Armourers   of  Italv 


XO.    XIX. PARADE    SHIELD    AND-HELMET.    GIVEN    TO    CHARLES    V.    BY    THE    DUKE    OF 

MANTUA.    MADRID  BY    JACOPO    FILIPPO    NEGROLI,     [533 


XO.    XX. BADGE    OF 

THE    ARMOURERS' 

GILD    ON    THE  CHURCH 
OF    OR    SAN     Mil  111:1.1:. 


effect  is  confused  and  valueless  even  when  viewed 
from  only  a  short  distance.  The  suit  attributed  to 
this  artist  in  the  Musee  d'Artillerie,  Paris,  is  a  very 
good  example  of  the  merits  and  faults  of  the  decoration 
of  armour  under  the  late  Renaissance.  The  work- 
manship is  perfect  in  technique,  and  could  hardly 
be  surpassed.  But  when  we  come  to  the  design 
and  its  suitability  we  realise  its  demerits.  There  is 
no  repose  or  dignity  of  design  and  composition,  and 
the  figures  mean  nothing,  but  simply  serve  to  show 
off  the  craftsman's  dexterity.  The  very  surfaces, 
which  should  be  smooth  and  plain,  are  overloaded 
with  projectings,  undercut  and  prominent,  which 
would  retain  rather  than  deflect  a  weapon.  Kven 
if  we  consider  this  armour  as  solely  for  ceremonial 
use,  we  find  its  convenience  impaired  by  the  em- 
bossing of  the  overlapping  thigh-pieces  and  defences 
of  the  upper  arm  which  should  slide  easily  one  over 
the  other,  but  which,  on  account  of  their  ornamenta- 
tion, must  either  fail  to  do  this,  or,  if  they  do,  must 
certainly  scratch  and  injure  the  under-surface.  In  a 
word,  it  is  the  design  and  workmanship  of  a  gold  or 
silver  smith  applied  to  an  unsuitable  material  in  such 
a  way  as  to  impair  the  utility  of  the  object  decorated. 
Perhaps  the  worst  offender  of  the  decorative 
armourers  was  Lucio  Picinino,  1550-70.  Theburgonet 
made  by  him  in  the  Madrid  collection  (A.  292) 
sufficiently  shows  the  style  of  the  whole  suit.  The 
elaborate  and  intricate  work  suggests  jewel! 
not  armour;  and  reference  to  the  burgonet  will  show 
the  disregard  of  those  laws  of  the  craft  whii  h  we 
have  before  insisted  upon.  The  leg  armoui  i 
a  sure  sisjn  of  the  skill  of  the  craftsman,  and 


suit,  although  entirely  covered  with  so-called  decora- 
tion, the  grace  and  symmetry  of  the  work  of  the 
earlier  masters  is  entirely  lacking. 

But  little  now  remains  of  records  of  the  important 
gilds  of  the  armourers  and  swordmakers.  Their 
badges  are  to  be  seen  on  the  west  and  north  sides  of 
the  Or  San  Michele  in  Flon  (.11  a  house 

in  the  Spaderia  in  Venice.  In  the  /< 
Lombardo  is  given  the  account  of  an  exhibition  of 
armour  arranged  by  the  Milanese  Gild  ol  Armourers 
on  the  occasion  of  the  marriage  of  I. ode-; 
and  Beatrice  D'Este  on  Jan.  22,  1491.  The  whole 
length  of  the  Via  degli  Armorari  was  lined  with  a 
double  row  of  figures  mounted  and  on  foot,  so  well 
arranged  as  to  give  the  appearance  of  a  regiment  on 
parade.  The  gilds  were  under  the  protection  of  three 
saints — S.  1 

blacksmiths,  and  S.  Paul  for  the  swordsmiths.    These 
latter  kept  the  festival  of  their  patron   bj 
procession  to  the   Church  of  S.    Main    Beltrade,   to 
which  the  attendance  of  all    men 
was   obligatory    under   penall  L'he  Craft 

of    the     Italian     armourers    still     found 
development   in  the  manul 
firearms   and 

the    tradit: 
craftsmanship    ol     which 

industry    that    it    holds    il 
IV 


The    Connoisseur 


Cambridge   College    Bookplates 


A    COLLECTION    of 

the  different  colleges  of   our 
is  extremely   interesting,   not 
libris,  but  to  those  who 
ha\  e  spent  their  younger 
days  in  and  around  the 
university  towns,  and  are 
familiar  with  the  old  col- 
leges, and  have  possibly, 
at     one     time    or    other, 
frequented    the    libraries 
attached   to  them.      The 
literar}  element  was  very 
.strong  at    Cambridge  in 
the    old    days,    and    the 
c  olleges    i  li  e  i  e   are  es 
penally   rich    in   ancient 
MSS.     and     ponderous 
folio    volumes,    main    ol 
which    contain    book- 
plates   engraved    in    the 
early   years  of  the  eight- 
eenth century.     Some  of 
the  books  contain  dona- 
tive plates,  indicating  the 
source  from  which   they 
were  derived.     One  of  the  p 
kind  of  bookplate  is  found  in 
which  ( George  I.  presented 
about  30,000  volumes.   To 
commemorate  the  gift,  the 
authorities   caused    plates 
to  be  engraved  by  J.  Pine. 
Thej    are    remarkable    for 
ih  11  magnificence  and  the 
peculiai   design  which  had 
n  fen  nee  to  the  gift,  and, 

On    an    archllrctur.il    base, 

showed  a  portrait  medal- 
lion of  the  King,  the  in 
scription  on  the  scroll 
reading,  "  Munificentia 
rcgia."  The  plate,  whi  h 
was  dated  1715.  although 
it  was  not  actualK'  en- 
graved until  1737,  bears 
thi  arm  ol  thi  Univei 
sity  on  an  oval  hi  Id, 
supported  b)  Minerva  and 
Apollo ;  behind  them  bein 
1 '.      tin  rising  through  the 


the  bookplates  used 
1  hief  seats  of  learnin 
1  collectors  of  e. 


No.    I. — CORPUS    CHRISTI    COLLEGE,    CAMBRIDGE 

rincipal  examples  of  this  of  books  and    MSS.   m.n 

the  University  library,  to         1575.     The   oldest    plat 


By    Fred  W.  Burgess 

louds.  The  University  library  was  founded  as  earl) 
onsisted  of  about  fifty-two  volumes; 
he  building,  which  was  sufficient  to  hold 
the  library  until  1755, 
was  erected  by  Thomas 
Scott,  Archbishop  of 
York.  The  plate  in 
general  use  in  the  library 
to-day  is  a  simple 
armorial  ;  but  many  of 
the  older  books  have 
Jacobean  plates,  on  all 
of  which  the  University 
arms  figure.  Among 
the  numerous  colleges 
some  have  special  claim 
in  consequence  of  the 
literary  merits  and  anti- 
quarian value  of  the 
books  they  contain. 
Clare  College  library 
contains  Italian  and 
Spanish  plates.  The 
library  of  Corpus  Christi 
<  !ollege  first  became  not- 
able through  the  bequest 
bj    An  hbishop  Parker  in 

is    .1     cue    early    Jacobean 

armorial,  insci  ibed  "  Col- 
legium ( Corporis  <  "hristi 
&  B.  Virginis  Mariae  in 
Universitate      Canta- 


7'" 


"olWium  Emmanm 

Cantabrigiae.  \ 


No.  i.  Gonville 
and  Cams  College  is  a 
very  old  foundation,  a 
curious  old  pictoi  ial  1  ata- 
logue  of  its  .MSS.  having 
been    published   in   1849. 

The    oldest     bookplate    ,,1 

the  college,  which  is  also 
Jacobean    armorial,    is 

somewhat    scarce.        The 

MSS.  a|  King's  (  ollege 
are  mostly  ( >i  iental,  chiefly 
Persian  and  Arabii  .  Per 
haps  the  most  interesting 
librar)  is  that  of  Magda- 
I-  m  .    founded    bv    Pepys, 


.ha 


numbei 


Cambridge  College  Bookplates 


of  early   English  ballads.     In   this 
been  no  change  in  the  arrangenn  nl 
years,   most  of   them   and 
their  contents  are    just  as 
Pepys   left    them.       The 
plates    are    armorial,   with 
supporters  on  a  bracket. 
The    oldest     library    in 
Cambridge  is  that  of  Peter- 
house, where  there  are  al  ><  lut 
700  volumes  dating   from 
1418.     In  some  of  these  an 
old    name  label   is   found. 
Queens'    College     has 
30,000  volumes,   mostly 
modern.     The  early  plate, 
dated    1700,    in    some   of 
them    is    anonymous    and 
rare.     The  plates  of  Em- 
manuel College    are    very 
singular,    the    earlier   one 
being  Jacobean,  similar  in 
style  to  the  University 
library  plate,  and  was  en- 
graved   about    1700.     A 
later    plate,    see    No.   ii., 
was  engraved  by  Stephens 
in  1737,  and   it   is   some- 
what rare  and  difficult   to 
obtain.   A  donative  plate,  a 
badly  engraved  Jacobean, 
inscribed  "  Ex  dono  Rev- 
erendius  in  Christo  Patris 
Will.  Sancr.A.C,"  is  scarce. 
The shadedjacobean  book- 
plate  of  Christ's   College, 
shown    in    No.    iii.,    is    of 
quite    a    different    type, 
similar,    however,    to    the 
one   of    the    early    plates 
used  at  Eton  College.   The 
older  plates  of  the  college 
of  St.  John  the  Evangelist 
are  found    in    two    si/es  ; 
they    have    also    shaded 
backgrounds,   but  the 
shield  of  arms  is   flanked 
by  two  supporters.    There 
are    some    old    books  in 
K-sus   College    containing 


later 
odern 

plate   i-   used. 
Trinity  <  !ollege  library  is 
'i    a    hall    built 
istopher  Wren. 
and    includes    maj 
volumes   and    \i  S 
peciallydram 
Shakespearean 
The  magnificent  plateillus- 
trated   in    No.    iv.    is   pic- 
Chi  ppendale,  and 
si  phens. 
There  is  a 

similar  plate  not  unlike  it 

in  design, 

miniature    littl  :    Chippen- 

plate  found  in 

DG1 

Divinity  School  was  built 

-v^  fund,    and    nov 

'\  .  Bishop  Lightfooi 

1 

n  eluding 
N'ewnham  for  women. 
which    Was    founded  in 

to  its  present  site  in  1873. 
wishful    to   make 
their   coll 

•er  ;  the 

1 

s 


iSHM 


Ol4 


BQOfe 


French    Illustrated    BooRs 

On  the  24th  of  last  April,  at  the  Hotel 
Drouot,  Paris,  the  six  volumes  by  M.  Bret  of  Les 
CEavres  de  Moliere,  as  printed  in  1773  par  la  Com- 
pagnie  des  Libraires  Associds,  sold  by  auction  for  the 
extraordinary  and  indeed  unheard  of  amount — for  a 
book — of  177,500  francs,  or  about  ,£7,100  of  our 
money.  I  cannot  commit  myself  to  a  franc  more  or 
less  when  making  this  quotation,  nor  is  it  necessary 
to  be  precise.  All  that  is  intended  to  be  conveyed 
is  that  the  six  volumes  in  question)  realised  the 
equivalent  of  about  ,£"7,000,  the  largest  amount  ever 
paid  by  auction  in 
France,  or  indeed  in 
any  other  country,  for 
a  single  printed  work, 
no  matter  how  many 
volumes  may  be  com- 
prised in  it.  Half  a 
dozen  ( laxtons  with  the 
first  four  folios  of 
Shakespeare's  Comedies, 
Jfistories,  and  Tragedies 
added  might  cost  no 
more,  and  when  we  come 
to  consider  the  very 
large  and  i  111  port  ant 
library  which  might  be 
"erected,"  as  Naudajus 
has  it,  for  much  less,  the 
imagination  oversteps 
the  bounds  of  com- 
parative analysis  and 
seems  to  revel  in  figures 
which  are  a  law  unto 
I  he  prii  es 
whii  h  book .  reali  1  al 
aui  tion  01  elsewhere  are 
m it  ni  ci  ..hi! v  indicative 
1  il  theii  intrin:  ii 
but   they  are    n 

importance    foi 
the   time   being   in   this 


By    J.   Herbert   Slater 

work-a-day  world,  and  for  that  reason  are  commonly 
quoted  as  terms  or  factors  capable  of  disclosing  the 
actual  position  of  affairs  with  a  more  convincing 
degree  of  accuracy  than  adjectives  have  it  in  their 
power  to  express.  We  may  conclude,  therefore,  that 
from  a  mere  monetary  standpoint,  this  particular  copy 
of  the  works  of  Moliere  was  fortified  by  very  special 
circumstances  or  that  it  never  would  have  realised  the 
large  sum  in  question,  or  any  sum  at  all  approaching 
it,  and  this  was  actually  the  case.  In  addition  to  the 
portrait  of  Moliere,  after  Mignard,  the  six  neurons  on 
the  titles,  by  and  after 


woodcut 
pieces, 


Moreau,  th 
head  and  ta 
after  Pa  pill  on  and  others, 
the  etcetera,  and  the 
thirty-three  plates,  it 
had — and  here  is  the 
point — the  whole  thirty- 
three  original  drawings 
in  sepia,  by  Moreau, 
from  which  these  plates 
were  engraved  by  Duclos, 
De  1  .uinay,  Masquelier, 
and  other  masters  of  the 
period.  These  original 
drawings  were  at  one 
time  in  the  Soleinne 
copy,  but  M.  le  Vicomte 
Frederic  d  e  J  a  n  z  e 
acquired  them  some 
forty  or  fifty  years  ago 
for  an  amount  which 
would  now  be  considered 
trilling,  and  having  had 
them  inserted  in  his 
own  copy  of  the  work — 
the  one  which  recently 
sold  for  the  large  sum 
mentioned  —  became 
■  losely  identified  with 
them  in   the  knowledge 


French  Illustrated  Booki 


of  everyone  who  had  anything  to  do  with  French 
illustrated  books  of  the  best  period  of  the  eighteenth 
century,  which  may  be  taken  to  extend  from  the  year 
1718  to  about   1790. 

Collectors  of  works  of  this  class  need  a  special 
training  which  it  would  be  mere  affectation  to  des- 
cribe as  anything  less  than  arduous,  for  acting  upon 
the  perfectly  sound  principle  that  early  copies  are 
necessarily  more  desirable  than  later  ones,  the  illus- 
trations in  the  former  being  naturally  better,  and 
therefore  more  desirable  in  every  way,  it  becomes 
necessary  to  know  how  to  identify  the  earliest  issues, 
and  this  can  only  be  done  by  strict  attention  to 
detail,  unless,  indeed,  the  general  appearance  of  the 
plates  themselves  is  made  the  criterion  of  their 
excellence,  at  least  to  the  fullest  extent  possible,  for 
to  say  that  it  is  wholly  possible  would  be  to  convey 
an  utterly  erroneous  impression,  different  copies  of 
the  very  same  book  often  showing  many  important 
variations,  for  the  most  part  intimately  associated 
with  the  "  states  "  of  the  plates  and  their  number,  no 
less  than  with  their  quality.  In  this  article  I  propose 
to  mention  a  few  of  the  more  important  French 
illustrated  works  of  the  eighteenth  century,  and  to 
point  out  their  chief  peculiarities.  It  will  then  be 
seen  that  the  scope  of  the  collector  is  of  immense 
extent,  and  that  he  might,  had  he  the  time,  money. 
and  opportunity,  fill  the  walls  of  a  library  with 
hundreds  of  volumes  belonging  to  the  special  class 
of  which  I  have  spoken,  many  of  them  being  at  the 
first  glance  mere  duplicates,  but  all  substantially 
different  notwithstanding.  Should  he  seek  to  confine 
himself  to  the  very  best  and  most  complete  copy  of 
each  particular  work,  rejecting  all  others  which  do 
not  attain  to  the  standard  of  excellence  he  has  set 
up,  this  would  be  a  different  matter ;  but  in  practice 
he  would  find  that  he  would  not  be  able  to  do  this, 
except  by  the  extremely  dangerous  process  of  taking 
to  pieces  several  examples  of  the  same  work  and 
making  one  glorified  copy  of  such  portions  of  them 
as  he  decided  to  retain. 

I  will  first  take  the  works  of  Moliere,  by  M.  Bret, 
in  six  volumes,  Svo,  1773,  previously  mentioned. 
This  is  a  fine  edition,  remarkable  for  the  beauty  of 
its  type  and  illustrations.  It  must  be  observed  that 
two  of  the  plates,  "  L'Avare  "  and  "  Le  Misanthrope," 
are  almost  always  of  inferior  quality,  though  they  do 
exist  as  good  impressions,  and  should,  of  course,  be 
procured  in  that  state  if  possible.  Copies  which 
do  not  contain  the  starred  or  double  leaves  LXVI.- 
LXVII.  and  I. XXX. -I. XXXI.  in  the  first  vo 
inferior.  All  the  plates,  the  portrait,  and  the  fleurons 
should  be  in  proof  state  without  text,  and 
containing  them  in    this   state    should  be  b 


ts  he  was  the  first  to  seek   for 
and  bind  these  proof  copies.     There  are  el<  h 
all  these  plates,  but  only  two  or  three  full  series  are 
known.     The  plate  called  "  Le  Sicilien, 
Moreau  himself,  after  his  own  design,  should    have 
his    signature    as    distinct    as   possible.      The  accom- 
panying illustration  gives  a  repnn 
Moreau  being  seen  at  his  easel.     Finally,  CO] 
this  work,  as  ol  all  others,  should  be  "uncut,"  that 
is    to    say,    not    cut   down    by  the  binder,  and    they 
should   be   in   old  French  morocco  by  such  craftsmen 
as  Bozerian,  before  named,  or,  failing  him.  (ape  01 
Derome.     It   will   be   seen   from   this   recital  that  to 
obtain  an   ideal   set  of  the  six   volumes  satisfying   all 
these   requirements,   for    only   two    or   three   sets  are 
known,  would  be  rather  more  than  merely  difficult. 
Another  and  even  finer  illustrated  edition  of  Moliere 
appeared  at    Paris    in    1734,  and   this   also  is  in   six 
volumes,  though  they  are  royal  .ito  in  size.      Boucher, 
who  was  a  pupil  of    Watteau,   designed    thirty-three 
elegant  plates  for  this  work,  and  there  are  in  additii  in  a 
portrait  of  Moliere,  by  Lepicie,  after  Coy  pel,  a  fleuron 
on    each    title,  and    198   head   and   tail    pi 
Boucher  and  others.     Mdme.  de   Pompadour  had  a 
set   of    these   volumes    on    large     hutch 
was  the   fashion   to  relate,   but   it   is  doubtful,   to  sad- 
dle least,  whether  any  such  .  printed,  and, 
moreover,   hers,   which   is   still    in    existeni 
to  be  of  the  ordinary    size   in   these   more 
of  rule    of    thumb.      The    collector    who    places    his 
affections  upon  this  edition  of  Moliere  has   need   of 
patience,   for  there  are   two  distinct   issues  of  it,   the 
first    and    best    having    the    word'  "  comte 
"comtesse")     in     volume  .    line     12. 
Furthermore,   in  the  fourth  volume  there  should  be 

illustrated  leaves  forming  pa 
(which  are  consequently  in  duplicate)  containing 
head-pieces  and  a  different  ornamental  initial.  Then, 
again,  according  to  Mr.  Lewine,  in  volume  i.  in 
L'Etourdi,  page  8  should  contain  twenty-nine  lines 
of  text,  while  in  the  second  issui 
have  been  carried  ti 

ind    as  un- 
finished  proof  etchings,  and  also  as   finished   proots. 
As    in   all    ti 
■■  ideal,"    no    mail.  I 

an  old  Freni  h    mi 
is   called    his    "ma 


The    Connoisseur 


L 'AMOUR   MKDECIN. 


an   example  of   the  complications   which    may  arise 

,vhi  n    l  n  ni  h    illu  it  rati  'I    books   of    the   fashionable 

I   extrai  t  a  desi  ription  ol   this 

■    from  .1   rei  ent   sale  i  atalogue. 

o  volum      rcali  ifling  sum 

tsted    with    \\  rabeau's    copj    in  old  red 

ced  some  few  al    j, i  francs, 


and  doubtli  -  "i  greatei  value  now.  The  description 
as  drawn  bj  an  experienced  cataloguer  is  as  follows: 
■■  i  ]  ivres,  the  series  ol  portraits"  (some  must  have 
been  added,  for  only  one  portrait  was  engraved  for 
the  work),  "  and  thirty-three  plates  from  the  designs 
by  Boucher,  spei  ial  cop)  on  grand  papier  de  Hol- 
lands (?)    with    the    portrait  "    {i.e  ,    the    portrait     ol 


French  Illustrated  Books 


Moliere    after    Coypel),    "and    seven    of    the 
artist's  proof  before  all  letters,  without  the  designer's 
and   engraver's  names,   6  vols,    in  the  old   wrappers, 
Paris,  1734,  4to.     The  plates  as  'Epreuves  d'artiste 
avant  toute  lettre'  are  'Le  Misanthrope,'  'Le  E 
ou   l'amour    Peintre,'  'Le    De"pit    Amoureux,'    '  Les 
Pre"cieuses    Ridicules,'    '  Le    Medecin    Malgre    lui,' 
'  L'Etourdi,'  and    '  Les    Fourberies    de    Scapin,'  the 
last    one    bearing    the    signature    '  Chedel,    A.    J.' 
Contemporary    manuscript 
descriptions   added.      The 
'  Prologue    d'Amphitryon 
has  been  substituted  by  the 
plate    bearing    the    inscrip- 
tion,   'Personam    Capili 
detrahat   i lie  tuo,   Mart, 
with  C.  Natoire  delineavil . 
L.  Cars,  sculp.'  "     The  de- 
scription is  lengthy,  as  will 
be  seen,  yet  it  was  necessary 
even  in  this  simple  case. 

Scores  of  French  illus- 
trated books  of  the  best 
period  of  the  eighteenth 
century  might  be  critically 
analysed  at  length  in  the 
same  minute  way,  and  in 
each  case  it  would  be 
found  that  the  plates  are 
met  with  in  a  variety  of 
''states,"  or  that  some 
copies  of  the  same  book 
contain  one  or  more  extra 
plates,  or  plates  w  hi  c h 
were  prepared  only  to  be 
rejected  as  not  coming  up 
to  the  standard  of  excel- 
lence which  the  editors  con- 
sidered indispensable.   The 

celebrated  Fermiers-(  leneraux  edition  of  the  Conies  et 
Nouvelles  en  vers  of  La  Fontaine,  published  in  two  post 
Svo  vols.,  1762,  affords  an  excellent  and  well-known 
instance  of  a  variety  of  eccentricities  occurring  in  one 
and   the   same  work.      All   the  eight)    plates   in  tins 
edition  are  after  the  designs  of  Eisen,  and  six  ol  th  m 
are  to  be  had  "  decouveites,"  the   best  known  being 
Le  Cas  de  Conscience  and  Le  Diable  de  Papefiguiire. 
These  two  are  often  met  with,  but  not  so  the  remain- 
ing four  known  as  Les  Lunettes,  Le  /•'<//,  Le  A 
and  Richard  Minutolo.     These  are  very  seldom  seen, 
Le  Bat  especially,  and  it  is  quite  an  exception; 
rence  to  find  all  the  six  decouverte  plates  repn 
Then  again,  there  are  twenty-live  other  plates,  usuall) 
of  smaller  size,  which  were  rejected  by  tli 


d'Amateurs  as  being  eithi  ficiently 

,  and  an  ideal  copy  of  the  work 
should  have  these  bound  up  in  their  propi 
It  is  not  necessary  to  enlarge  upon  the  titles  0 
rejected  plates,  though  it  may  just  be  mentioned  that 
one  of  them,  Le  Faucon,  seems  to  have  been 
looked — assuming    it    was    really    prepared    foi 
edition — by  several  of  the  authorities  who  make  I 
illustrated   books  their  special   study.      I 

course,  an  exceptionally 
gifted  artist,  and  the  plates 
in  these  two  volumes 
elevate  them  to  a  level  of 
'  ellencc  whirli 
has  seldom   or   n 

n    I 
an)  worl     <>  a    imilar  kind. 
;ood  idea  of  the 
artist's    style   « i 
tained  from  the  1 
Le  Gast  on,  ,\  n  pi 
of    which   is    given,    its 
effective    simplicity   and 
refinement  being  distinctly 
characteristic    of  the   man 
and  his  art.     The  touch  of 
Eisen   is  seen   again  in 
man)    othi  1    works  ol    the 
peril  "I.     1  le,  with  ( iravelot 
and  others,  illusti 

nerone  of 
1  - 5 7 ,    in 
work  which,  though  valued 

for  itseli  al 
with    much   greal 
when  it  contain    ' 
plates  on  fine  paper  known 
iTv™sN"  !  vols     t-6  as  the  Estampes  Galantts. 

this  edition,  one  in  Italian  and  the  othei  in  French, 
and   both   were   published  in    the 
volumes  and  at  the  same  time  and  place. 

On,-  of  the  earliest  ol  the  Fn  iv  b  ill  isti 
of  the  kind  nunc  particularly  undi 
Amours  Pastorales  de  Daphnis  et  < 
facques    Amyot    from    the    > 
printed  in  1718, 

main 


The    Connoisseur 


as  many  extra  plates  as  possible  ;  to  procure,  in 
fact,  a  copy  which  contains  more  than  most  others. 
Considered  on  general  principles,  this  would  be  an 
excellent  rule  to  follow,  but  there  are  exceptions  to  it, 
and  one  of  them  is  intimately  associated  with  this 
edition  of  Les  Amours  Pastorales.  So  far  as  the 
edition  of  17  iS  is  concerned,  the  presence  of  the  extra 
plate  of  the  Petits  Pieds 
is  by  no  means  an  un- 
mixed blessing,  for  more 
often  than  not  it  is 
found  in  the  later  issues, 
and  for  this  reason  the 
practice  has  grown  up  of 

describing  a  choice  copy 

of    the    work    in    some 

such  terms   as  "  one   of 

the  very  earliest   issues 

before   the  plate   of  the 

Petits  Pieds,  by  Caylus, 

was  added."    This  plate 

may  certainly  be  found 

in    even   a    very  early 

issue   of   the  book,   but 

in    that    case    it    will 

necessarily    have    been 

inserted  at  a  later  period, 

just   as   any  other  extra 

plate  may  be,  and  often 

is,    added    to   complete 

or,  let  us  say,  to  render 

even    more    noteworthy 

any    illustrated    book 

upon    which    consider- 
able  store   is  set.     The 

accompanying   illustra- 
tion, entitled  Vope,  r(  sic) 

de  Daphnis  et  de  Chloi, 

disclosing  a  primitive 

and    partly   open    hall 

festooned  with  garlands, 

the  revellers  reclining  in  Roman  fashion,  gives  a  very 

he  artistic  style  of  Philippe  d'Orleans, 

[i  ing  the  minority  of  Louis  XV., 

and  an  amateur  artist  ol  very  considerable  ability. 
As  Les  Am  wrs  Pastorales   is  one  of  the  earliest  of 

the  French  illustrated  books  which  comes  within  the 
hi     artii  !<-.  1    have  tl ghl    it  advi  :able  to 

mention  it  al   length,  though  the  date  of  its  publica- 
oincide  with  the  best  period.     Such 

a  work  as  Man  Contes    Iforaux,  published  in 

1  76  iretty  plates  after 

Gravelot,  by  such  engravers  as   Baquoy,  de  1  0 

almost  as  well  known,  i .  in"! 


1  1 


I  |.s  IM    M  llHH  i  \  11   I 


typical  of  the  period  of  which  I  have  spoken,  though 
perhaps  it  is  not  of  the  same  importance.  An  illus- 
tration taken  from  this — "  Le  Philosophe  soi  disant " 
— by  de  Longueil,  discloses  a  very  different  style, 
though  it  falls  into  its  place  naturally  with  the  rest, 
as  do  the  designs  of  Cochin,  Fragonard,  and  many 
more,  not  forgetting  those  of  the  Marquise  de  Pompa- 
._,  dour,  an  artist  who,  like 

Philippe  d'Orleans, 
contributed  not  a  little 
as  an  amateur  to  the 
artistic  activity  of  the 
age. 

Needless  to  say,  it 
would  not  be  possible  to 
critically  analyse  many 
of  these  French  illus- 
trated books  within  the 
compass  of  a  short 
article,  nor,  even  were 
it  possible,  would  it  be- 
altogether  satisfactory  to 
do  so,  as  the  subject 
generally  is  of  great 
complexity,  and  needs  to 
be  handled  in  a  practical 
and  matter-of-fact  way, 
with  every  little  detail 
and  point  of  difference 
set  down  for  the  benefit 
of  those  collectors  who 
make  a  study  of  books 
of  the  kind.  They  have 
their  text-books,  such. 
for  example,  as  Cohen's 
Guide  de  I'A  ma  ten  r 
de  Livres  a  Gravities 
du  XVI IP  Siicle,  a 
fifth  edition  of  which 
appeared  in  1886,  and 
iORAUX,"  3  vols.,  8vo,  1765  M].     Lewine's    excellent 

Bibliography  of  Eighteenth  Century  Art  and  Illus- 
trated Hooks,  published  in  London  in  189S.  In  the 
margins  of  these  they  will  often  add  the  discoveries 
which  are  continuall)  being  made;  for  these  French 
illustrated  works  have  no  finality,  nor  is  it  certain, 
however  improbable  it  may  he,  that  the  best  known 
copy  of  any  one  of  them  may  not  at  any  moment 
be  supplanted   by  a   belter. 

There  1  an  be  Utile  doubt  that  collectors  who  have 
1  natural  appreciation,  >•<>  u>  speak,  ol  finely  illu  itrati  d 
works  of  the  particular  kind  under  discussion  are,  as 
a  .las-.,  deterred  from  having  much  to  do  with  them 
on  account  of  what  they  conceive  to  be  then   great 


French  Illustrated  Books 


Nopccs   de   Daplims    ct     de    Chloc 


FROM    LOXGl'S 


\  \V  "    KS     ['ASTORAt 


cost,  for  the  belief  that  such  books  are  exceedingly 
expensive  to  buy  has  become  so  widely  disseminated 
as  to  have  passed  almost  into  a  proverb.  It  is 
true  that  the  sums  occasionally  paid  for  particular 
copies  of  these  books  are  arbitrary  and  fanciful,  but 
large  amounts  should  be  quoted  not  as  though  they 
were  of  universal  application,  but  rather  as  being 
highly  exceptional  for  all  the  following  reasons  in 
combination,  or  on  account  of  any  one  or  more  of 
them.  A  book  of  the  kind,  even  though  not  of  great 
importance  in  itself,  may  become  so,  (a)  if  it  is 
bound  in  contemporary,  or  at  any  rate  old  French 
morocco,  and  is  in  a  good  state  of  preservation,  and 
this  is  accentuated  (b)  if  it  is  bound  by  a  celebrated 
craftsman  :  (c)  if  the  book  has  at  one  time  belonged 
to  some  historic  or  highly  esteemed  collector,  and 
this  is  also  accentuated  (d)  if  it  has  his  arms  or  some 
other  distinguishing  device  on  the  covers  ;  (e)  if  il 
contain  added  plates,  often  consisting  of  proof 
etchings,  these  representing  an  evolutionary  stage  in 
the  preparation  of  the  plates ;  (/)  if  the  plates, 
vignettes,  and  other  embellishments  are  in  unlettered 


proof  state  or  in  some  "  state  "  out  of  the  ordinary  : 
(g)  if  the  book  contain  starred  or  additii 
found   only   in   a   few   copies  ;     (h)  if    it 
paper  or  on  paper  or  other   material   of  an  unusual 
kind,   as,  for   instance,  vellum,    Dutch    paper,   vellum 
paper,  and  so  forth  :   (i)   if  then-  arc  bound  up  all  or 
any  of  the  original  drawings  from  which  the  plates 
were  engraved.     Even   if   but   one     . 
happens  to  be  present,  it  will  add  mati  I 
importance  and  consequent  value  of  any  French  illus- 
trated book  of  the  eighteenth  century  ;  and  when  the 
book  happens  to  be  of  meat  interest  in  its 
or  the  majority  of  these  fa<  tors  it  is  readily 

conceivable  that  there  is  hardly  any  limit  lo  the 
fanciful  price  which  may  be  obtained  foi  it.  The 
point   is   that   the   vast    majority   of  these  illustrated 

■ 
not  essentially  valuable,  but  that  they  may 
in  individual  cases  by  reason  of  the  labour  or  care 
which  has  been  lavished  upon  them  in  the  ; 

they  ma; 


The    Connoisseur 


Notes   and   Queries 

[The    Editor   invites    the    assistance   of  readers   of 

The    Connoisseur    Magazine  who  may  be  able  to 

impart  the  information  required  by   Correspondents.] 

Unidentified  Portrait. 

Dl  \i:  SIR,  — Would  you  kindly  insert  in  THE  CON- 
NOISSEUR MAGAZINE  a  reproduction  of  the  enclosed 
photo.,  with  a  view  to 
ascertain  the  subject 
and  artist,  if  possible  ? 
The  picture  is  supposed 
to  represent  one  of  the 
wives  of  Henry  VIII., 
King  of  England,  and 
to  be  painted  by 
Holbein.  The  size  is 
about    10   in.    high    by 


Thankfully  yours, 

H.   GOUJON. 

Unidentified 
Portrait  Gri  h  p, 
Dear  Sir,  — I  should 
be    glad    if    you   would 
insert    the    painting    of 
a  family  group  in  The 
Connoisseur     Maga- 
zine,   with    a    view   to 
ascertaining    the    artist 
a  rid  family.      1   a  1  so 
wish  to   know   who  the 
artist  was  who  used  the 
initials    I.   S.   V.,    1S55. 
Yours  faithfully, 
e.  s.  i  i  nnings. 

Book  on 

An  PIQUE 
rOBACi     1 

in  vk  Sir, 

1     should    be 

ateful  if 

iuld   tell 

me  the  name  of 

printed   matter, 


about  antique 
tobacco  pipes 
of  all   kinds, 

in. in  bowls  m 
1  In  11 .1 .  carved 

<>r  other  kinds. 


Also  of  any  collection  of  pipes  that  could  be  s 
(such  as  the  Wallace).  I  should  like  to  know  wl 
such  a  book  could  be  either  bought,  or  seen,  if  ii 
library. 

Yours  truly,  A.  MALCOLM   Bodki> 


Australian  Picture. 
a  dim  recollection  of  a  picture  called 
Australia's  First 
Contribution  to  English 
Literature.  Would  you 
kindly  tell  me  whether 
such  a  picture  has  been 
hung  in  any  London 
Art  Gallery  during  the 
last  three  or  four 
years  ?  My  enquiries 
in  Australia  have  failed 
to  elicit  any  clear  or 
satisfactory  answer. 

Yours,  etc., 


Book  on  Road 
Waggons,  etc. 
Dear  Sir,— Can  you 
tell  a  subscriber  from 
the  first  of  any  work 
containing  illustrations 
of  road  waggons, 
carriers'  coaches,  or 
stage  coaches  to  Lon- 
don in  use  from,  say, 
1S00  to  1850?  Your 
kind  reply  will  be 
esteemed. 

Yours  truly, 
(,l  orge 
Lansdown. 


Dear  Sir,— 
Thesword  illus- 
trat  e  d  in  the 
S e p t  e m ber 
N u  m  b e r  of 
I'm.  CONN01S 

seur  Maga- 
zine is  about 
1649,  and  may 
be  described 
as  .1  mortuary 
sw  0  r  d  ,    a  n  d 

quite    .1       1 

example. 
^  ours  very 
Duly, 
I'lin  IP    \i 

SON,    M.l'. 


MARIE  LECZINSI 
BY  J.  M.  NATTIER 
At    Versailles 


;a,  QUEEN  OF 


Milt 


his  Catalogue  Raisonne,  re- 
produced without  acknowledgmenl 


lustration   to 


The  very  fine  portrait  of  Lady  Hamilton  reprodui  i  d 
in  The  Connoisseur  Magazine  for  February,  1909, 

was,   as   Mr.    Roberts   has   pointed 
A  Note  on  the 
Portrait  of  Lady 
Hamilton,  by 

Romney,  recently     by   Stothard 
reproduced   in  the  sixth 

"The  Connois-      an(j  sub- 
seur   Magazine" 

B  sequent 

editions    of    Hay  ley's 
Tri  11  m phs    of    Te mp e r 

(178S).  Serena  in  the  Boat 
of  Apathy  forms  a  singular 
contrast  to  the  heroine  .is 
she  appears  in  the  fronds-, 
piece,  nor  is  it  surprising 
when  we  find  that  this 
frontispiece  is  a  repro- 
duction (again  without 
acknowledgment)  of  Rom- 
ney's  portrait  of  Miss 
Honora  Sneyd,  well  known 
from  the  smaller  version 
in  the  South  Kensington 
Museum,  and  the  mezzo- 
tint of  77  Lady  Reading, 
by  J.  R.  Smith.  Such 
details  did  not  trouble 
Stothard,  but  the)  open 
up  a  field  ol  curious  en- 
quiry .is  r  o  Romney's 
various  portraits  ol'  ll.11 
ley's  heroine.  We  learn 
from  the  (  'atalogue  Rai- 
sonne that  "  Romney 
painted  four  pictures  of 
Serena,  three  representing 
her  reading  by  candlelight 
in  different  attitudes,  and 
the   fourth    in   the    Boat 


of  Apathy      1  f.    Rev.   J.    Roniro  y's     Memoirs  of  his 

Father,  p.  180).      All  the  portraits  of  Serena  I 
were   studies   of   Miss   Sneyd. 

Miss    Seward,  in    a    letter   dated    Nov.    25th,  171;-', 
and  quoted  D)    Mi.  Rol  iteOlls 

print  of  Romney's  Serena,  which  is  exactly  ak 

■  II''' 
at  sixti  en."   0    ■  ■■ 
cannot   11; 

s   Serena   at    the 

since  the   poem   did   not 

appear  t  1 

\ 
Life  of  Romney   1  p.   94) 

that  the  series   of  drawings 
for     the      Triumphs    o/ 

' 

.    within 
two  or  tic 

of  the   pii 

S 


The    Connoisseur 


when  she  was  sixteen — and  adapted  at  the  instance 
of  Hayley  for  the  Triumphs  of  Temper.  Miss 
Seward's  "beauteous  print,"  with  its  "entire  and 
perfect  resemblance"  to  Hi  mora  Sneyd,  was,  it  may 
be  conjectured,  the  well-known  mezzotint  by  J.  R. 
Smith,  after  Romney,  already  mentioned,  dated 
Sept.   28th,    1782. 

Three  of  the  four   pictures  of  Miss  Sneyd  above 
referred    to   were    ex- 
hibited at  the  Grafton  _: 

(lallery  in  1000  ;  the 
fourth  belongs  to  the 
Duke  of  Sutherland. 
( Ca  talogue  Raiso  n  n  e , 
pp.   46-7.) 

Now,  Romney  painted 
Emma  Hart  thirteen 
times  in  1782,  and  was 
constantly  at  Eartham 
with  Hayley,  so  that  we 
cannot  be  sure  when  he 
painted  her  as  Serena. 
In  a  letter  elated  August, 
1786,  he  writes  :  "The 
Bacanalian  picture  is  in 

statu  quo,  also  the  Serena 
and  the  Cibele,  and  the 
Medea,"  on  which  Mr. 
Roberts  notes,  "nothing 
more  is  k  no  wn  of  the 
last  three  pictures,  which 
were  probably  among 
those  that  perished  (or 
were  stolen)  at  I  [amp- 
stead.  It  is  interesting 
to  find  tli.it  Emma  Hart, 
as  well  as  I  lonora  Sneyd, 
sal  foi  Serena  Hayley's 
heroim  Mr,    Roberts 

further   notes   what    we 

SERENA     IN     THE 

li.c    .lie  ,nK  pointed  out, 

thai   Hi'  10     ail  ol    Miss  Sneyd  as  The  Lady 

Reading  was  copied    bj    Stothard    and    engraved  by 

Sharp,  and   four     tin    engraved   frontispiece  to    the 

si\ih  edition  ol   the    Triumph   of  Temper;  In-     aj 

ami    (it   the   third   oi    the  series     Serena  in  the 

Apathy  —  which,   as    w<     have    ;een,    is   a 

ol    1   11!'     Hamilton,      Have   w    nut    here  .1 

key  to  the  Serena  which  Mr.   Roberts  believes  to  be 

d  is  not  tin-  picture  reproduced  in  Tin    1  !on- 

work  to  which  Romney 

his  I  iii  1   11,    1 ;  86,  win  11   1:,    wa    1  on  itantl) 

in  familial  intercourse 

m      I     DAILE. 


Old   Italian 
Jewellery 


l.*Un.  nM.//,.,/  4/ftfyi, 


■  fe 

Minting  In 

.  ith  his  pati       Hay] 


It  is  likely  that  the  wearing  of  jewelled  ornaments 
was  suggested  by  the  custom  of  decorating  the  head 
with  flowers  in  token  of  joy  or  triumph, 
certainly  the  finest  examples  of  the 
early  Italian  goldsmiths'  art  suggest 
many  floral  forms.  Raised  petal-like  plates  with  vein- 
ing  of  plain  and  rope-patterned  wire,  bosses  of  pearls 
resembling  the  calyx,  pendants  of  threaded  pearls 
like  tassels  of  a  bluebell, 
'■'•«',-.  and    bunches    of  grapes 

■"  |@  -1 s :  ■-- >'i- "Up  gj  made   of  pearls  varying 

^^^^jbh|  m  si/e  threaded  on  gold 

wire — all  such  devices 
serve  to  bring  before  our 
eyes  nature's  patterns 
which  served  as  inspira- 
tion to  the  native  worker. 
It  is  interesting  to  note 
that  though  the  peasant 
jewellery  of  Southern 
Europe  varies  slightly  in 
the  different  districts  and 
townships,  yet  the  type 
peculiar  toihe  neighbour- 
hood continues  with  such 
persistence  that  in  some 
parts  of  Umbria  there  are 
workers  who  up  to  the 
present  day  are  working 
at  the  same  patterns,  and 
producing  them  in  a  simi- 
lar manner,  as  the  jewel- 
led ornaments  wrought 
by  the  ancient  Etruscans. 
The  Adriatic  jewels,  in 
which  pearl  stringing  on 
line  gold  wire  forms  so 
important  a  part,  are  cha- 
racterised by  the  most 
ok    u-ATiiY  delicate  workmanship. 

( 'luster  pearls  are  found 
on  nearly  all  Renaissance  jewels.  In  two  instances 
only  amongst  the  examples  illustrated  there  are 
coloured  stones  used,  a  small  garnet  marking  what 
would  be  the  heart  of  the  flower.  The  earring  is 
of  pun-  gold.  The  openwork  plaques  to  which  the 
long  thin  wire  hook  is  fastened  are  decorated  with 
soldered  wires,  with  some  plain  and  some  rope  design. 
enclosing  compartments  in  varied  and  beautiful 
shapes,  some  ol  these  are  "pen,  others  arc  filled  with 
gold  and  may  have  been  enriched  with  coloured 
enamels  when  the  jewel  was  made  in  the  sixteenth 
century  :  two  small  bunches  of  pendant  pearls  hang 
from  the  sides,  and  from  a  gold  hook  at  the  back 


Notes 


hangs  a  t a s s e  1  - 
like  pendant  i  in. 
in  length,  whose 
intricate  orna- 
ment is  clearly 
seen  in  the  illus- 
tration,  No.  ii. 

A  similar  pend- 
ant centrepiece, 
with  two  galleries 
of  threaded  pearls, 
is  seen  in  illustra- 
tion No.  i.,  and 
has  also  probably 
once  been  orna- 
mented w  i  t  h 
coloured  enamels. 
This  superb  pair 
is  also  of  late  six- 
teenth  century 
work.  It  measures 
z\  in.  from  the  top  OLD  "alian  jewellery  (ir.) 
of  the  wire  to  the  pendent  pearls,  and  is  undoubtedly 
of  Venetian  workmanship,  as  only  the  most  skilful 
artificers  could  have  accomplished  such  line  work. 

Though  several  of  these  specimens  are  large  they 
can  be  worn  in  the  ears  without  the  slightest  incon- 
venience, as  they  are  so  well  balanced  that  the)  do 
not  feel  heavy  ;  the  long  hook  of  fine  wire  also  renders 
them  very  safe,  an  important  detail  on  account  ol 
their  great   value. 

Somewhat  different  in  pattern,  but  essentially  Italian 
in  feeling,  are  the  examples  No.  iii.  and  No.  iv. ;  these 
measure   z\  in.  and   2  in.   respectively.      Much  larger 


EXAMPLES      IV.    VI. 

pearls  are  used,  bul  the  primitive  method  of  attaching 
them  by  piercing  and   thi  Aire,  rather 

than  b)  i  la  -. 

'I  he  charai  I  iristii    i  i     i    nt-shaped  top  in  the  tilth 
example  has  very  I  en       p  ■    idants.     It 

is  noticeable  that   tins  earring  is  worn  as  a  ship  sails, 
ii   only  the 
foremost   pendant  is  shown,  ornament  is 

viewed  from  the  side.     The  wire  for  passing  through 
the  pierced  hole  in  the  flesh  is  secured  by  means  of 


spi  ing. 
The  stud 


ample 


is  a(  much  redder  gold 
than     those 
above,   the    inner    row 

the  outer  i 

ins,   which 

is  a  green 

It    will    b 

found  in  in 

tinent,  and 
d  up  by  the 

i  ; ' 
t! 


The   Connoisseur 


other  valuables  at  Messina  dur- 
ing the  earthquake.  Those  who 
have  opportunities  will  do  well 
to  acquire  fine  rally  examples 
of  undoubted  authenticity. — 
E.  N.  J. 

We  reproduce  in  this  issue  a 

portrait   which  will  be  of  very 

great  interest  to 

^P01""  our  readers,  and 

at  St.  Helena  . 

especially    to 

those  who  have  appreciated 
Mr.  Baily's  book  upon  this 
fascinating  figure  of  history, 
containing  reproductions  of  a 
number  of  portraits,  engravings, 
miniatures,  etc.,  never  before 
given  to  the  public  of  this  ex- 
traordinary man.  Nothing  more 
forcibly  illustrates  the  widely 
differing  impressions  made  by  "  th 
upon  the  artistic  world  of  his  day. 

The  portrait  in  this  number  is  taken  from  a  small 
photograph  of  an  engraving  of  a  picture  by  a  French 
artist,  painted  towards  the  end  of  the  Emperor's  life, 
when  the  confinement  in  his  island  prison  had  told 
greatly  upon  him.  He  is  shown  sitting  upon  a  seat 
overlooking  the  sea,  with  the  background  appro- 
priate to  the  country,  gazing  out  over  the  waters  with 
the  expression  of  a  doomed  man,  but  with  the  still 


NAPOLEON    AT 


ittle  Corporal  " 


ineffaceable  mien  of  the  caged 
lion.  He  is  dressed  in  a  linen 
suit  with  wide-brimmed  straw 
hat,  and  but  for  the  look  upon 
his  face  —  which  at  once  be- 
tokens no  ordinary  man — might 
be  some  prosperous  planter 
taking  his  ease  in  the  beautiful 
surroundingsof  his  island  home. 
The  once  dapper  Corsican  has 
become  very  stout  in  his 
declining  days,  a  fact  which 
shows  graphically  the  enervat- 
ing effect  of  the  conditions  of 
his  life,  coupled  with  the  relax- 
ing character  of  the  climate  of 
St.  Helena. 

The  photo  was  kindly  lent 
RSBHHHnHH  by  Mr.  Castle  Smith,  of  27, 
Netherhall  Gardens,  whose 
lather  came  across  it  in  the 
island  when  on  a  visit  to  Capetown  about  thirty  years 
ago.  Nothing  was  known  of  the  name  of  the  artist, 
but  it  was  said  to  have  been  painted  in  the  island. 

On  the  extreme  left  and  right  a  very  fine  pair  of  Bow 
figures,  with  fruit  and  flowers,  on  scroll  bases.  In  the 
centre  a  very  rare  Bow  group  of  a  harlequin 
and  lady  embowered  on  scroll  plinth,  and 
on  either  side  of  same  a  pair  of  Bow  groups  as  candle- 
sticks, en  suite,  rich  foliage,  and  figures  of  children. 


Bow  Chi 


Notes 


One  of  th 


I  have  been  interested  in  the  various  article; 
ing  in  The  Connoisseur  Magazine  on  Old  I 

W  ine-Glasses,  as   I   ; 
Wine  Guises     w'1',il   nas   Deen  undisturbed  for  the 

last  ioo  years,  to  which  a  few  glasses 
have  been  added  from  time  to  ti 
numbered  i 
was  sent  to  Mr. 
Albert  Harts- 
home  in  1889, 
when  he  was 
engaged  in 
writing  his 
book  on  old 
English  wine- 
glasses, and  is 
there  illustrated 
(Fig.  3  5  9). 
about  which  he 
says  :  "Another 
air-stemmed 
glass,  also  in 
Mr.  Way's 
possession,  lias 
the   rose   and 

two  buds,  fiat,  and  the  oak-leaf  on  the  bowl,  and  the 
Prince  of  Wales'  Feathers  on  the  foot.  This  is  a  cycle 
glass  of  about  1740."  And  in  a  letter  on  the  same 
subject  he  says  :  "  But  what  the  origin  of  putting  fiat 
on  glasses  was  I  have  not  yet  found  out.  1  know  of 
about  thirty  examples  in  different  parts  of  the  country. 
It  is  said,  and  this  has  not  been  contradicted,  that  fiat 
glasses  were  those  of  a  Jacobite  club  in  the  North  of 


No. 


-GLASSES. 


England.     [  despaii  of  getting  at  the- truth  of 

M 

of  beautiful  glasses,  and  many  with  n 

ises." 
The  glass  5  No 
and  a  butterfly.     No.  3  ai 

with    gi 

No.   -1 
are    .1 

right     gl 

engraved    with 
No.    5 

fluted 

No 
...    :.    and    8 
autifully 
cut    glasses 
onged 
Right 
Hon     Frances, 
Countess    of 
Northampton, 
wife  of  the  sixth   Earl   of  Northampton.     V 
a  pair  with  platinum  rims.     No.  9  is  one  of  a  set  of 
three  glasses  \\  ith  ruby  and  white   1 ' 
as  also  are  Nos.  20  and  21.     No.  20  is  en 
th      Hanoverian  rose  and  butterfly.     No.  12   is   one 
ol  a  set  of  eight  glasses.     No.  16  is  a  very  beautiful 
dimpled  bowl  and  ruby,  yellow,  and  white 
twists  in  the  stem.     Hi  rbi  im    W.,L.   \\  w. 


SATED    WITH    STLART     EMBLEMS 


No.    II. — EIGHTEENTH     CENTU 


fc^4 

D 

6 

2  £ 

a  h 

«   x 

3  ° 

2 

S  o 

;-'  < 

<  s 

<   O 
O   b 

o  * 

6  £ 

ISp?^1 "r 

Notes 


It  has  always  been  gener- 
ally known  to  collectors  and 

connois- 


A  Remark- 
able Historic 
Dinner 
Service 


;eurs  that 

the    cele- 

b  r  a  t  e  d 

Wedgwood 
service  made  for  the  Em- 
press Catherine  II.  ot 
Russia  was  exhibited  in 
1774  in  Greek  Street,  Soho, 
where  it  set  the  town  agog 
with  amazement.  The 
rooms  were  thronged  with 
fashionable  people,  and  this 
splendid  patronage,  in  con- 
junction with  that  of  Queen 
Charlotte,  who  in  1765 
authorised  Jo  si  ah  Wedg- 
wood to  style  himselt 
"Potter  to  Her  Majesty," 
established  the  Queen's 
ware  permanently  as  the 
standard  body  of  English 
earthenware. 

Each  view  in  this  cele- 
brated service  was  of  some 
family  seat  or  place  of 
interest  in  the  United  King-  medallion,  cath 

dom  as  they  existed  in  1774.  white  and  da 

This  Imperial  Russian 

dinner-service  is  the  most  famous  English  service  known. 
With  painted  views  of  ruined  castles,  abbeys,  parks, 
bridges,  and  towers  of  a  hundred  and  fifty  years  ago,  it 
is,  apart  from  its  ceramic  interest,  notable  from  a  topo- 
graphical point  of  view.  Every  single  piece,  and  there 
are  eight  hundred  of  them,  has  a  different  view.  The 
body  is  of  a  pale 
brimstone  colour, 
and  the  view  is 
painted  in  a  rich 
mulberry  purple. 
The  border  has  a 
wreath  of  mauve 
flowers  and  green 
leaves.  As  the 
service  was  in- 
tended to  be  used 
at  the  palace  of 
La  Grenoitilliere 
— m  e  a  n  i  n  g  a 
marshy  place  full 
of  frogs — which 
now  forms  part  of 
the  palace  of 
Tzarkoee  Selo, 
near  St.  Peters- 
burg, each  piece 
bears  a  green  frog 
within  a  shield  on 


the    rim.      It    ».i 

that  a  child  and 
a  frog  were  to  be  painted 
on  each  piece,  but  this  was 
altered  to  the  present  frog 

dinner-sei 

Messalina  of  the  North 
n  g  1  a  n  d, 

there  ha-,  bcrn  .  onsiderable 
mystery.  It  was  believed  to 
have  vani  shed. 
it  could  be  found.  Russian 
archives  were  searched  in 
vain  by  ceramic  students. 

A  few  stray  pieces  existed 
in  this  country,  five 
the  possession  of  the  Wedg 
wood  family,  and  two  at  the 
Victoria  and   Albeit    Mus- 
eum, and  one  at  t: 
M  u  seum.    Th  1  i 
has   now   bei 

It  is  one  of  the  event-  ol 
the  year  of  especial  interest 
to  collectors,  that  by  the 
enterprise  of  Messrs.  Josiah 
Wed" wood  &  Sons  a  large 

E    II.    OF    RUSSIA  .  ,     ,  . 

reen  jasper  portion  of  this  service  is  to 
be  exhibited  to  the  public 
n  London  this  month.  It  is  happy  to  know  that  the 
greater  portion  of  it  is  still  in  existence,  and  whole.  There 
s  no  doubt  that  it  will  attract  considerable  at: 
hat  those  who  are  unaware  of  the  old-world  bean- 
ie-, appert ing   to  this  distinctly  English  1 

vill  find  the  exhibition  of  more  th.vn  ordinary  interest  ; 

noissc 

know  the 

wa  1  e,  and  are 
familiar  with  the 
only  km  ■ 

ntry,  will 
the   op- 
portunity 

senttothi 


: 


:• 


The    Connoisseur 


Messrs.  George  Bell  &  Sons 


simultaneously 


■ith    the 


of 


before-mentioned    service 


The  Story 
of  the 
Find 


chibiti. 

publishing  a 
volume,  The 
Imperial 
Russian  Din- 
ner Service,  A  Story  of  a 
him, 'us  Work  by  Josiah 
Wedgix  ■nod,  by  Dr.  George 
C.  Williamson,  whose  in- 
defatigable energy  and 
painstaking  researches  in 
the  matter  led  to  the 
service  being  unearthed 
at  St.  Petersburg.  The 
volume  will  be  illustrated 
by  photographs  taken 
specially  in  Russia  by  the 
Emperor's  own  photo- 
grapher. This  in  itself 
is  of  especial  interest,  as 
none  of  these  eighteenth  - 
century  pieces  have  ever 
faced  the  camera  before. 
The  volume  records 
documents  never  before 
printed,   and    it    gives    a 

complete  catalogue  of  the  service,  of  which  only  one  list 
is  known  to  be  in  existence.  Chaffers,  it  will  be  noted, 
chronicles  the  service  as  consisting  of  1,244  painted 
\iews,  11. akin-  up  952  pieces  for  dinner  and  dessert. 
Dr.  Williamson  brings  the  latest  evidence  on  the  subject, 
and  records  only  800  as  now  in  existence.  It  is  from 
this  fact  alone  evident  that  existing 
ceramic  authorities  must  be  corrected 
up  to  date.  Early  writers  were  often 
very  hazj  in  then  facts.  Chaffers 
evidently  had  never  seen  a  specimen 
of  the  service,  as  he  states  that  "a 
green  frog  was  painted  underneath 
each  piece." 

The  inception  of  the  volume  was  due 
to  the  author's  search  for  early  prints 
oi  Hampstead,  some  twenty -seven  of  which 
ing  to   William    Hewitt's  Northern   Heights   of  London 

'86g  ,10  be ml  .1  .   11  enes  on  this  Catherine  II. service. 

The  difficulties  of  research  in  St.  Petersburg  and  the 
eventual  sui  1  ess  are  graphically  told  by  Dr.  Williamson. 
The  pei  :onal  inti  -  I  of  Their  Imperial  Majesties  the 
Czar  and  Czarina  of  Russia  were  sought  and  most 
'  m  ind  Mr.  1'.  II.  Wedgwood,  a  lineal 
descendant  of  tin  great  fo  iah,  travelled  to  Russia  to 
receive  the  piei  es  lent   tor  exhibition  in   London. 

littli  doubl  that  in  the  highest  Russian  circles 
considerabli  it  erest  is  now  shown  in  regard  to  this  old 
Wedgwood  service.  Count  Paul  de  BenckendorfF,  the 
1  Irand  Ma  ;tei  of  th  1  -mi.  1,,, ,  warmly  interested  him 
self  in  thehistoix  of  tli  ieedil    removed 

from  its  hiding  pla<  e up  1     1  plai  e  of  honour 

In  view   Of  the  recent 


re.  aci  o 


visit  of  the  Czar  to  this  country,  and  the  strengthening  of 
diplomatic  relations  between  the  Court  of  St.  James  and 
that  of  His  Imperial 
Majesty,  this  eighteenth 
century  ceramic  link  be- 
tween England  and  Russia 
is  of  exceptional  interest. 

AMONG  a  large  collection 

of  South  Africa  curios  in 

,,       D.  .     ,  ,     the    pos- 
Van  Riebeck's  . 

~     .  session 

Cha'r  C     AT    ' 

of  Miss 
Morison-White,  of  Brigh- 
ton, is  an  old  Dutch  chair 
in  a  remarkable  state  of 
preservation  in  spite  of  its 
two  hundred  and  fifty  odd 
years.  The  chair  originally 
belonged  to  Van  Riebeck, 
the  first  Dutch  Governor 
of  the  Cape  of  Good  Hope, 
and  was  used  by  him  as 
far  back  as  1650.  Itstands 
thirty-one   inches  high,  is 

sixty-eight    inches  round, 
i  s   chair  •      ° 

and  seventeen-and-a-half 
inches  from  the  cane-bottomed  seat  to  the  ground.  It  is 
made  of  African  wood,  very  strong  and  heavy  for  a  chair 
of  its  kind.  The  chair  itself  gives  one  a  good  idea  of  the 
old  Dutch  toppers,  and  from  the  figures  given  above  it 
can  be  gathered  that  these  old  Dutchmen  must  have 
been  broad  and  sturdy  men  with  somewhat  short  legs. 
The  heavy  band  round  the  middle 
of  the  chair  legs  is  placed  there  as 
an  additional  support,  and  quite  a 
common  thing  to  be  seen  round 
most  Dutch  chairs,  (ireat  interest 
has  been  taken  in  this  most  remark- 
able piece  of  furniture.  The  late 
Mr.  Cecil  Rhodes,  who  possessed  a 
,  huge  collection  of  the   Van  Riebeck 

curios,  was  very  anxious  to  purchase 
the  1  ban,  but  Alms  Morison- White  always  felt  she  could 
not  part  with  this  relic,  and  to-day  it  adorns  one  of  the 
many  artistic  and  elegant  rooms  in  her  house  at  Brighton. 

Messrs.  A.  Fraser  .\    ( "".,  Inverness,  sold  at  the 

beginning  of  1  tctober  the  important  collection  of  antique 

furniture  and   curios  formed  by  the  late 

The  Leslie  yu_    ^^^  ]cs]-c  Fraser    The  collection 

im  liuled  many  authentic  Jacobite  relics 
and  Highland  curios,  for  which  high 
prices  were  realised.  Among  the  more  notable  items 
wen. 1  rare  Highland  Targe  of  the  seventeenth  century, 
,£152;  a  lock  of  hair  of  Maiy  Queen  of  Scots,  ,£26;  a 
small  piece  ol  in  wood  which  foi  med  part  of  the  staff  of 
Prince  Charles  Edward's  standard  in  1745,  ,£25  10s. ;  the 
original  pair  of  colours  of  the  Fraser  Fencibles,  ,£155; 
and  an  exceptionally  line  Highland  steel  pistol,  ,£60. 


Collect!* 


Notes 


The  furniture,  of  which  there  was  an  extensive  collec- 
tion, included  Queen  Charlotte's  spinning-wheel,  ;£l8  ; 
an  "Act  of  Parliament"  clock,  ,£28;  and  a  Sheraton 
bureau,  £l~  ;  whilst  amongst  the  Sheffield  plate  must 
be  noticed  a  snuffer-tray  and  pair  of  snuffers,  which  made 
,£42  ;  and  a  tine  pair  of  candelabra,  lyre-shaped,  with 
two  scroll  branches,  for  which  .£46  was  given. 


POLYCHROME    MAJOLICA     RELIEF 

The  tine  majolica  polychrome  relief  Pieta  from  the 
Robbia  workshop  illustrated  is  from  the  collection  of 
Baron  Adalb.  von  Lanna,  Prague,  which 
is  to  be  dispersed  in  Berlin  during 
November.  It  measures  130  centimetres 
n  height  and  73  centimetres  in  width,  and  is  encased 
n  a  handsomely  carved   wood   frame. 


Majoli 
Relief 


record   oi  Bristol  that  have  since  had  to 

make  way  for  the  march  of  progress.  The  progress 
chronicled  in  this  beautiful  volume  coincides  with  the  era 
of  daily  journalism  in  Bristol.  With  die  establishn  ent 
of  the  Western  Daily  Press  in  1857  began  that  open-eyed 
and  advancing  pi  1  is  given 

to  the  city  a  Clifton  College,  a  Merchant  Venturers' 
Technical  College,  a  Colston  School  for  Girls,  Girls'  High 
Schools,  a  widespread  system  ol  Council  Schools,  and 
now,  to  crown  all,  a  University.  Within 
the  Cathedral  has  been  completed,  the  spue  of  St.  Mary 
Redcliffe  ("  the  finest  parish  church  in  1 
been  built  ;  the  principal  city  bridges  ha\e  been  widened 
and  new  ones  built  ;  the  Clifton  Suspension  P.i: 
been  erected  ;  railways  have  been  made  on  each  side  of 
the  Avon,  docks  have  been  constructed  .it  Avonmouth, 
and  the  streets  have  been  revolutionised.  The  acreage 
of  the  city  has  increased  from  7,000  to  17,000,  and 
improved  sanitation  has  lowered  the  death-rate  from 
twenty-four  per  thousand  per  annum  to  about  fifteen. 
Many  of  the  citizens  to  whose  forethought  and  1 
these  and  other  improvements  are  largely  due  have 
passed  from  the  scene  of  their  labours  ;  but  the  torch 
of  enterprise  has  been  handed  to  equally  progressive 
successors,  and  the  Western  Daily  Press  and  its  journal- 
istic co-workers  are  as  active  and  zealous  as  ever  in 
keeping  the  brave  old  city  of  the  Middle  Ages  in  the 
van  of  modern  advancement. 

The   frontispiece  to  the  present   numbei    1-  a  repro- 
duction of   the  magnificent   portrait  of  the   tail  but   frail 

Count,  1 

Our  Plates        ^  m  (h(.  possession  0|  Earl  Spencer, 

K.G.     This  beautiful,  though  notorious  <  reature,  the  wife 

of  a  Mr.  Palmer,  became  the   Countess  ol   Castlemaine 

upon   the    raising    ol    her  husband 

Charles    II.,  whose  mistress  many  years 

she  was  intimate  with  His  Maji  broken 

for  a  short  period     b<  h  llu''   ''"' 

marriage  of    King    (  harl< 

In  fact,  so  infatuated  was  her  Royal  lover  that  he 

upon  the  Queen  giving  In-  favoui  ite  the  honoured  position 

of  Lady  of  the  Bedchamber,  and  openlj  n< 

flouted  his  Royal  spouse  lor  this  beautiful  .uUentu.es.. 

Two    of   the    many    fine    portraits    at    Vei 
included  in  this  numbi  ■'  "  Valliire, 

by    lean    Nocret,    and    the    otln  1     Nattiei 

The  colon,  plate   on    tin 
Henry  Bone',  enamel  ol  I  '»e  famous 

Francis   Lemuel 


Bristol :  as  il  Was,  and  as  il  Is,  is  the  title  ot  a  most 
interesting  history  of  the  great  western  port  during  tin- 
last  fifty  years.  The  articles  which  form 
the  backbone  of  the  text  were  written  by 
Mr.  Stone,  and  appeared  first  in  tin 
columns  of  the  Bristol  Evening  News.  They  derive 
additional  interest  from  the  profuse  pen  and  ink  1 
trations  of  Mr.  Loxton,  who  seems  to  have  kept  a  t 


History  of 
Bristol 


Books    Received 

rard   S.   Davies,    12s. 


- 


ORRESPONDENC 


:-:"*. 


Special    Notice 

Enquiries  should  be  made  upon  the  coupon 
which  will  be  found  in  the  advertisement  pages.  While, 
owing  to  our  enormous  correspondence  and  the  fact 
that  every  number  of  The  Connoisseur  Magazine 
is  printed  a  month  in  advance,  it  is  impossible  for  us 
to  guarantee  in  every  case  a  prompt  reply  in  these 
columns,  an  immediate  reply  will  be  sent  by  post  to 
all  readers  who  desire  it,  upon  payment  of  a  nominal 
fee.  Expert  opinions  and  valuations  can  be  supplied 
when  objects  are  sent  to  our  offices  for  inspection, 
and,  where  necessary,  arrangements  can  be  made  for 
an  expert  to  examine  single  objects  and  collections 
in  the  country,  and  give  advice,  the  fee  in  all  cases 
to  be  arranged  beforehand.  Objects  sent  to  us  may 
be  insured  whilst  they  are  in  our  possession,  at  a 
moderate  cost.  All  communications  and  goods  should 
be  addressed  to  the  "  Manager  of  Enquiry  Dept., 
The  Connoisseur  Magazine,  95,  Temple  Chambers, 
Temple  Avenue,  E.C." 

ANSWERS    TO    CORRESPONDENTS 
Boo/Vs.— Facsimile  Copy  of  Magna  Carta.  -A1.S7S 

Bowdler's  "  Family  Shakespeare,"  10  vols.,  2nd 
edit.,  1820.  Ai,sS(i(l:nllyn,„.,t.y).  The  ten  volumes  of  this 
work    would    nol    fetch    more   than  -say    5s.     Youi    nine   odd 

'."l'.iiii'-,(>l  thc£«   ,,.',.,   Ha  B,itainii,\i  arc  practically  valueless. 

Bibles    and    Book    of    Common    Prayer.  —  Ai.ssj 
MiMiii    £2   ids.    would    be   the  value  ol    the   three 

Theatrum    Botanicum,     1640.  —  Ai.ojS    (Tunbridee 

rh      bool    is  worth  aboul  £2  21. 
Complete  Body  of  Husbandry,  1750.      '  1  04;    Bowi 

>il   value  ol  ihis  win  .  11. 

Tennyson's  "  Idylls  of  the    Kim;."    1867.     Ai.m; 
■  1  hi     illustrated   bj 

1  tore,  are  pr  i  ibly  worth   1;        I  he  ralue  ol 

igned    letters,   or    merely 
I  iwever,  do  not  appear  interesting. 

Cicero,  1536.     Ai,S4i  (Tunbridge  Wells).— The  • 

Coins. — William  and  Mary  Halfcrown.— Ai,iq8 

1   varieties  of  William  and  Mary  halfcrowns 
'■    il      1  \.    ..     rang 

from  3s.  to  ;•  ling  to  condition. 


EngraVingS. — "  Le    Premier    Navigateur."— 

Al,l6o  (Johannesburg). — This  plate  is  worth  about  £2,  and 
that  on  the  left  of  photograph,   30s. 

"The  Fisherman's  Departure  "  and  "  The  Fisher- 
man's  Return,"  by  W.  Ward,  after  R.  Corbould.— 
Al,351  (Copenhagen).— If  ordinary  mezzotints,  this  pair  is  worth 
about  £\0  to  £\2,  or  if  prints  in  colour,  about  double  the  sum. 
The  portrait  of  Dreyer  is  worth  about  £4,  to  £5. 

"  The  Dying  Fox-Hunter,"  by  C.  Hunt,  after  F.  C. 
Turner.— Ai, 357  (Olney). — We  presume  this  is  the  print  you 
reler  to.      In  colours  it  is  worth  about  30s. 

Hieroglyphical  Prints.  —  At, 352  (Wakefield).— These 
are  worth  onlv  a  few  shillings. 

"  Paulo  and  Francosia,"  by  W.  Ward,  after  J.  R. 
Smith.— Ai,3?S  (Woodbridge).— The  value  of  this  engraving 
is  about   17s.  6d. 

"The  Right  Hon.  Lady  Mary  Campbell,"  by  J. 
McArdell,  after  A.  Ramsay.— At, 330  (Totnes).—  This  is 
a  rare  old  portrait,  and  a  fine  impression  would  bring  from 
£™  to  £15. 

Mezzotints  by  Vertue.-A1.2S0  (Harrow-on-Hill).— 
If  these  are  prints  published  by  Vertue,  they  are  of  very  little 
value.     Vertue  only  engraved  in  line. 

ObjetS  d" Art. —Leather  Mug.— Ai, 284  (Christ- 
church).— The  leather  mug  you  describe  is  not  likely  to  be  of 
the  14th  or  15th  centuries.  It  is  more  probably  modern,  and 
of  little  value,  but  we  should  be  glad  to  inspect  it.  We  do 
not  quite  understand  what  you  mean  by  "Pretender  glasses." 
Genuine  old  glasses  of  the 'period  (1715-1750)  are  worth  about 
30s.  each,  but  it  inscribed  they  would  be  of  greater  value. 

Pottery    and    "Porcelain.— Teapot,  etc.— 

Ai,935  (Birchington-on-Sea). — Your  enquiryis  much  too  vague. 
I  in  ti  apot  decorated  with  pink  roses  is  not  likely  to  be  Lowes- 
toft, but  we  cannot  say  what  it  is,  or  its  value  without  seeing  it. 
The  jugs  are  probably  old  Staffordshire,  but  they  must  be  seen 

Spode   Dessert   Service.      Ai,ni7   (Florence).—  Spode 

:\  urn.  h  iii  1  liaiai  ter,  and  11  is  difficult  to  give 
an  approximate  value.  Your  service,  however,  may  be  worth 
about  £&  to  £10. 

Marks  on  Plate.-  Ai.SS;  (Abergavenny).— The  marks 
you  give  appeal  to  b  those. il  a  l'.uU  maker,  Veuve  Chican- 
neau. 

Vienna    Porcelain.      A  1.3.11    (Ashtead).     The   mark   you 

n-| luce  resembles  that  used  in  Vienna,  but  von  do  nol  saj 

what  ihe  ornament  is  that  you  wish  valued. 

Sheffield  Plate.-  Candlesticksand  Stand.- 

AJ.,203  (Uombay).      I  mm   \.nn    desci  iption,   the  artii  !•■ 
appear  to  be  gi  num.-  1  'I. I  shcliield,  and  we  think  it  would  pay 
ill  them  in   Bombay  than  to  ship  them  to  England. 
Your   miniature   must   be  seen  to  be  valued. 


Christ 


By  rr.  n 


December,     1909. 


4 


%% 


^s* 


^fe|-ceiA^cTieN-^ 


By    Lady    Victoria    Manners 

That  London  is  proverbially  the  richest 
city  in  the  world,  and  that  from  the  artistic  and 
historical  point  of  view  its  National  Picture  Galleries 
and  Museums  yield  to  no  other  nation  in  their 
wealth  of  priceless  possessions,  is  a  fact  beyond 
dispute,  but 
surely  the  ex- 
ceeding richness 
of  its  many  pri- 
vate collections 
has  been  some- 
what overlooked 
by  the  art 
student. 

Grosvenor 
House,  Stafford 
House,  Bridg- 
water House, 
and  a  few  other 
Galleries,  are, 
of  course,  well 
known  ;  but  it 
is  of  the  equally 
interesting,  but 
less  known  and 
appreciated  Lon- 
don Galleries 
that  I  propose 
to  write  in  The 
Connoisseur 
Mai  .  \/i\k. 

The  collection 
of  pictures  be- 
longing to  Lady 
Wantage  at  2, 
Carlton  Gar- 
dens,   is   one   of  piete 

Vol.    XXV. — Xo.    100. — N 


remarkable  interest   and   beauty,  and  conta 
of  the  very  finest   examples  ol    Dutch    ar| 

land.     The  majority  of  Lady  Wantage's   | 

the   French,    Italian,   Spanish,   and    English   Schools 

are  at   Lockinge,   but  several  important  e> 

those  schools 
•  arlton 
.   and  it 

with  the  many 
1  Hitch  pictures, 
which  will  form 
the  sub 
this  article.  The 
of  the 
collectioi 

Alio!: 

Lady  u 


77/6'   Connoisseur 


and  Mr.  Humphrey  Mildmay.  One  picture  was  sold 
to  the  King  of  Holland,  and  the  remaining  ninety- 
nine  were  divided  by  private  auction  between  these 
three  collectors  and  the  picture  dealer,  Mr.  Chaplin, 
through  whom  the  purchase  had  been  conducted. 
Mr.    [ones   Loyd  acquired  the  following  pictures: 


All  these  pictures,  with  the  exception  of  The 
Enchanted   Castle,  are  at  Carlton   Gardens. 

Lord  and  Lady  Wantage  added  many  important 
works  to  the  collection,  but  as  these  are  mostly  at 
Lockinge  it  is  unnecessary  to  enumerate  them, 
with   the   exception  of  the  splendid  portrait  of  Lady 


J  \N      BOTH                                     IT  Al  IAS  LANDSl    U'l 

Name  of  Picti  RE.  Artisv 

View  in  the  \V 1  at  the  I  [ague  I  I 

The  Watei  Mill     -  Hoi  bema. 

A  Landscape  Aart  van  dei  V  er. 

The  Wood*        i  Aarl  van  -I'  i  v    ,. 
I '  i li.ui  I  ..iinl  i  .ii»'  ;  iin'ii  l.nhini!',  1 1 1 ■  ■  1 1  h.iihli  ■■  -   1 " -.  i 

in  l  Hd  Lady         .         .         .  r 

i            ;                    'ii  Waterl  ill  1 

•         -         •         ■  [an  Steen. 

with  Shipping     •  W.  van        Veldi 

h     I  '      and  <  iun      -  Wynants. 

I  purchased  from  the 

.  ollei  tion  ol  Mr.  William  W  ells  ol  Redleaf : 


\  iMl    of    Pn 

i 

■ 

'-.nil  Life    - 

I  n 


I     I         : 

ii    Hoogh. 


Eardley  and  her  Daughter,  b)  Gainsborough,  which 
is   in    London. 

Before  attempting  to  describe  the  pictures  in 
detail,  1  must  devote  a  few  words  ol  praise  to  the 
excellently  written  and  beautifully  illustrated  cata- 
logue ol  the  collection  on  which  I  have  based  the 
following   notes. 

The  preface  by  the  late  Mr.  Arthur  Strong  is 
written  with  thai  brilliant  insight  which  was  such  a 
i  .in  f  ature  ol  that  distinguished  critic's 
writing,  and  the  catalogue  bj  Lad)  \\  antage, assisted  by 
Mr.  Temple  el  the  Guildhall,  is  a  mine  ol  information, 
and  greatlj  adds  to  the  enjoj  menl  and  apprei  iation 
iii  tun  s.  Would  that  othei  fortunate  owners 
ol   pii  ture     would  emulati    I  .ad)  W  antage's  exi  ellenl 


.96 


Lady    Wantages    Collation 


example,  and  provide,  if  not  beautiful  c 
least    reliable    and    useful    ones;    for  who  do 
know  the  many  hours  wasted  in   useless  search,   per- 
haps for  some  historical  portrait  or  landscapi  . 
to  an  imperfect  list,  to  say  nothing  of  the  foo 
of  allowing  valuable  works  of  art  to  remain  unclassified 
and  uncaredfor  ? 

The    Dutch    painters   of   the    seventeenth   century 


"Net  it  must  not   be  thought   that    Art 
the  one  branch  of  portrait   painting,  • 

inancial  support  on  the  part 
the   wealthier 
\  ith   few  excepl 
ted   for  the  p 
farmers    and 

•  •table  dwellings  with   n 


JAN      STEEN  TWELFTH      NIGHT 

must  ever  hold  a  foremost  place  in  the  annals  of  art. 
Ostade,  Jan  Steen,   Pieter  de  Hoogh,  Gerard  Don, 
and  a  host   of  others  created,  as  it  wei 
new  branch  of  art.     They  were   the    pion     t 
painters,  and  were  content  to  paint  simply  what  they 
saw  around  them,  and  did  it  with  consummate  skill  ; 
The  Peaceful  Dutch   Home,    The  Lady  at  her  Music 
Lesson,  these  and    many  other  similar   subjc 
first  treated   by  the   Dutch   artists  in  the  gold 
of  painting. 

In  that  interesting  book,  Cour, 
Republic  (  io^S-i  '<^'>  I  the  authoi 
certainly  was  there  a  more  genuine,  spoi 
burst  of  artistic  life  than  in  the   hall   i 
which    most   of   the    early    Dutch    pai 
estimated  at  two  hundred,  ea 


,i    IK.    Iiv 

pieces  thai 
Galleries." 

ially  rich  in  genre 
butes  an  attractive 
■  .    Frans   Van 
'. 

at  length  on  tl 


The    Connoisseur 


three  in  the 
National  Gallery. 
In  all  there  is 
the  same  mastery 
of  light  and 
shade  and  mar- 
vellous attention 
to  detail,  but 
nothing  "finicky" 
in  treatment. 
De  Hoogh  was 
certainly  not 
afraid  of  bright 
colour.  In  this 
picture  the 
woman  is  dressed 
in  a  bright  scarlet 
skirt,  blue  apron, 
white  bodice  and 
cap  :  the  man  in 
a  black  velvet 
jacket  and  beaver 
hat,  but  the 
effect  is  most 
harmonious.  ( In 
the  table  is  a 
"  Gres-de-Flan- 
dre  "  jug  :  a 
little  girl  is  seen 
appr o a c hi  ng 
from  the  house, 
carrying  coal  in 
a  square  earthen 
pot.  This  picture 
leaves  an  impression  on  the  spectator  of  solid  cleanly 
Dutch  comfort  and  prosperity,  touched  with  the 
spirit  of  poetry  that  is  very  pleasing.  W.ugen, 
vol.  iv.,  page  130,  says:  "This  master,  who  is  the 
paintei  of  sunlight  par  excellence,  appears  in  this 
beautiful  picture  in  the  highest  perfection  of  his 
Sir  Edwin  Landseer,  when  this  picture 
was  in  the  collection  of  Mr.  Wells,  at  Redleaf, 
madi  a  slighl  sketch  ol  it  in  oils,  which  is  now  at 
1  ,i!  It-  hi  Gari 

We    must    now    turn    our    attention    to    the    meat 


\N     OSTAD1 


hibited  al   the   Royal  icadi  mj   Old    Masters,   1^71  and 

[888,  .1!  ,:                   '  '  12,  and  al  the  Burlington  I'  ine 

1-           1            i  he  collection  of  John    Smith  until 
m  Wells,  Esq.,  of  1 

I 

Smith,    in    v.. 1.    i  1  1,1 

>  I  possi    ies  in  an 


painter  of  Dutch 
low  life,  Jan 
S  t  e  e  n  ;  he  de- 
lights in  depict- 
ing scenes  of 
revelry  and 
tavern  life,  and 
here  we  find  him 
;  at  his  best  in  the 
picture  entitled 
Twelfth  Night. 
It  is  a  very 
characteristic 
scene  of  gaiety. 
Sixteen  people 
are  represented 
merry  -  making, 
and  are  doing  it 
with  great  vigour 
and  evidently 
con  side  rable 
noise. 

Jan  Steen  was 
fond  of  intro- 
ducing mottoes 
into  his  pictures: 
in  this  one  the 
words  " S  o  o 
1  lovde  "  are  in- 
scribed  on  an 
iron  <  handelier, 
being  the  first 
"""'s  of  the  old 
1  Hitch  proverb, 
"As  the  old  people  sing,  so  pipe  also  the  young'': 
so  in  his  Grace  before  Meat  at  Belvoir  Castle,  the 
(handelier  in  the  background  bears  the  words  "Ons 
dagelyck  brood"  ("Our  daily  bread"). 

Waagen  (in  his  Treasures),  vol.  iv.,  page  1  13,  says 
ni  Ladj  Wantage's  picture,  "In  point  of  solid  and 
careful  execution,  this  is  a  first-rate  specimen  ol  his 
art."  It  is  signed  on  the  flooi  below  the  large  barrel, 
"J.  Stem  "  (J.  and  S.  connected).! 

/  ..•     /  ,     m  ■.,  al  :o    b}    Dm    Steen,    is  a   curious 

picture,  and  well    illustrates  the  strange  revival  ol    the 

practice   ol  alchemy  which  took  place  in  Holland  in 
the      vi  nti    nth  1 1  ntury,  and  became  sui  h  a  frequent 


orks 


I   This  picture  h  Chevaliei 

I  rancotta)  until  1816,  Chevaliei  Erard,   Mi.  John  Smi  h 

it   Raisonnt   until    1828,    Hnnm   Verstolk  van   Soelen, 
.  111  1846.      [I  ws 

ind  the  Guildhall  Gallery,  1892. 


The   Connoisseur 


subject  with  the 
Genre  paint- 
ers. ]t  repre- 
sents the  full- 
length  figure  of 
an  alchemist  in  a 
loose  jacket  and 
trousers,  seated 
before  a  furnace 
and  crucible.  A 
woman  on  the 
left  is  crying  as 
she  listens  to  a 
man  reading  a 
paper,  which 
seems  to  tell  her 
that  her  valu- 
ables, after  being 
melted, haveonly 
yielded  a  small 
amount  for  the 
metal.  Leaning 
towards  the  wo- 
man i  s  a  man 
who  seems  to  be 
telling  her  they 
were  worth  no 
more,  w  h  i  1  e  a 
stout  man  in  a 
black  cap  is  seen 
entering  the 
a  m  o  u  n  t  in  a 
book. 

This  picture 
has  been  en- 
graved  by  Fran- 
cois Godefroy 
undei  the  title 
ol  Les  Soufflem  t  MELI  HIOr  di  hondei  oeter 
e  I    la    Paisanne  n'    '"■ 

(  'reditle.  It  is  signed  and  dated  r.668,  and  was  in  the 
collection  ol  <  iolonel  Bi  mrgi  oi :,  ami  exhibited  at  the 
Royal    \'  ademy  (  Hil   Masters  in  i  S 7  j . 

David  Teniers  (the  younger)  is  represented  b) 
pictun  La  Femm<  Jalouse,  Les  Philosophes 
Bacchiques,  ami  The  Alchemist.  I. a  Tern  we  Jalonse  is 
1"  a  haps  the  besl  e  <anipl<  ,  in  spiti  i  »i  its  sordid  theme. 
The  woman  is  represented  listening  to  the  gallantry 
ol  an  elderlj  peasant,  whose  jealous  wife  is  seen 
■  ill  i  n  in."    them   from   a  w indow   on  the  left,  < 

shutter   ol    whi<  h    is   pen  hed  i \        !    ■ 

treated  this  unattrai  tive  subject  with  his  a<  i  ustomed 

i  level  nesi ,  and  the  lei  r  on  the  man's  I. 

with  gnat  skill  "1   this  picture  that  it 


is  "a  little  gem"; 
it  has  been  en- 
graved by  J.  P. 
le  Bas,  and  pub- 
lished under  the 
title  of  LaFemme 
Jalouse. 

The  picture  is 
signed,  and  was 
exhibited  at  the 
Guildhall  Gal- 
lery in  1895  :  it 
was  purchased  at 
the  Gray  sale  in 
[838. 

Teniers  found 
time  to  devote 
h  i  in  self  to  de- 
signing tapestry, 
a  t  which  h  e 
much  d  i  s  t  i  n  - 
guished  himself, 
many  of  the  very 
finest  panels  of 
Flemish  seven- 
teenth century 
tapestry  being 
taken  from  his 
drawings,  and 
are  known  as 
"Tenieres." 

Lady  Wantage 
possesses  two 
sets  of  tapestry 
hangings  de- 
signed  by  him — 
The  Set/sons  Oj 
the   Year,    Tk 

\.  ikk.     PEAHEN      \M>     OTHEB     BIRDS  Ft  S  k     /'•'■ 

<>-l   IN-  andFisA Market. 

The  pieces  ol  the  Fish  Market  set  have  beautiful 
gold-coloun  d  bordei  .  with  flowers  and  trophies,  and 
hear  the  Brussels  mark,  an  escutcheon  between  two 
B's,  ami  ihi'  name  ol  one  ol  the  leading  tapestrj 
mm  ters  win.  owned  looms,  "  J.  A.  C.  C.  V.  1 >. 
Bi 

This  family  (Van  der  Borghts)  was  celebrated  in 
the  annals  of  tapestry  until  1704,  when  the  Brussels 
■.Mill-'  fina  closed  in  the  person  ol  Jai  ques 
\  .11,  di  i    Borght. 

;  re  was  in  I  !..■  1  oiled  ion  oi  M,  1  1  nte  de  Vena 
until  1750,  M.  Blondel  di  Gagnj  until  1776,  M.  Beaujon  until 
17s:.   M  I  a    Bordi    Mi  n  nil il    [80  !,  ...hi   Edward  Gray, 


Lady   Wantages   Collection 


Adriaen  Van 

Ostade  contri- 
butes a  good 
study  of  still  life 
— the  back  court 
of  a  housi  ,  with 
haddocks  and 
other  objects  ; 
and  Melchior 
d  e  Honde- 
coeter  one  of  his 
characterise  ii 
bird  studies,  a 
beautiful  pea- 
cock standing  on 
the  branch  of  a 
tree,  with  other 
birds  and  a 
squirrel,  seen 
against  a  blue 
sky. 

The  great  land- 
scape and  marine 
painters  of  the 
Dutch  School 
are  well  repre- 
sented in  this 
collection.  Jan 
Wynants,  one  of 
the  best  of  the 
early  Haarlem 
'  School  of  paint- 
ers, contributes 
two  small  pic- 
tures; The 
Sportsman  with 
his  Dog  and 
Gun  is  perhaps 
the  finer.  The 
figures  are  by 
Adrien  van  de  Velde,  who  was  Wynants's  pupil.  This 
picture  was  purchased  from  the  Vei  :1 
in   1:848. 

Landscape  and  Cattle  is  a  good  example  of  \\ 
middle  and  best  period,  and  was  acquired  from  the 
collection  of  the   Duchesse  de  Bern'. 
A  Field  of  Battle,  by  Wynants's  g] 
VVouverman,  is  a  splendid  picture.       Here  we   have 
the    horrors    of    war    fully   presented, 
dying   lie   strewn  about   the   field;    all 
action;    troops    of    cavalry   and    infantry    ai 
distributed  over  the  scene;  volum 
against  the  .-sky.    The  painting  o!  the  ■ 
four  horsemen  is  specially  fine,  the  n. 


\U1im  11MI        I       Mi 


mount 

white  •  1: 
admiral  1 

shortened.  This 
picture 

the   l'n 

Hid  was 

purchased    in 

u    Mr. 
Buchanan. 

Smith,    vol.    i. 
plement 

No.    1  \  . 
"  This  very  capi- 
tal  picture    is 

painted  in  the 
artist's  later  and 
most    esteemed 

finishing 
ar  and 
silvery  colour- 
ings." It  has 
shibited 
at  the 
Acadeii 

•  1871 
and    1  8 
the    Guildhall 

1  s  a  a  k    van 

(til  e 
broth. 

two  lani 

ntry  Inn 

The  Country  Inn  is  an  admira 

1. it,  white  ruff  and 
plumed  hat,  has  dismounted  from  hi  -  hi 

- 


The    Connoisseur 


DE     VEI.DE 


breathes  the  spirit  of  the  cold  North.  The  scene  is 
a  simple  country  subject  :  a  timber  cart  is  being 
driven  along  a  road  towards  a  sportsman  who  is 
advancing  with  his  gun  and  dog. 

Cuyp  is   represented   by  a  large   picture   which   is 

curiously  unlike  his  usual  style.    Here  we  have  portraits 

of  three  children  who  are  fondling  sheep,  a  milkmaid 

in  a  red  dress  looped  up  over  a  dark   petticoat  is  in 

the  foreground,  while  in  the  distani  e  is  a  view  of  Dort. 

This  example  is  probably  an  early  work  of  the  master. 

There  are  four   pictures  by  Aart  van  der  Neer,  a 

r  of  <  uyp.       .  /  Fro  .  n  (  'anal,  number  158,  is 

work.     Tlir  Winter  Landscape  is  a  charm- 

!i\      Numbei    t6r,    The  Wood-cutters, 

is    in    the    master's    best    vein,    and    recalls    some    of 

Gainsborough's    landscapes    in    its    poetic    treatment 

ami  suffusion  oi   golden  light.     This   picture,  which 

1    iiiieil  from  tin-  1  ollection  ol    Baron  \  erstolk 

in    1  8  pS,  bi  .1!  i  the  art i  1    at   the  fi u il   ol 

[1    wa     1    hibited  at   the    Royal   Ai  ad   mj 

Old    Masters    in    1871    and    the    Guildhall    Gallery 

Jacob  van    Ruysdael    contributes   five   landscapes, 
the   two    hanging    in    the   drawing  room    at 
the    ii    1.       \11ml  ei    200    depicts   a    Grand   Rocky 

tnd     ;■    .1     verj    • I 

example    ol    the    painter's    treatment    ol    th 

;i  hi     view      in    whii  h    hi     delighted.        'I  his 


picture  was  purchased  from  the  Verstolk  collection. 
Waagen,  in  vol.  iv.,  says  of  it,  "  The  individuality  of 
every  portion  is  more  marked,  and  the  number  of 
details  more  numerous  than  in  any  other  picture  on 
so  large  a  scale  by  Ruysdael  that  has  come  before 
me."  Number  201,  a  Landscape  with  Avenue,  is  a 
charming  peaceful  forest  scene,  with  a  clear  stream 
flowing  towards  the  foreground.  Number  202,  River 
Scene,  with  Waterfall,  is  a  line  picture,  and  was  in 
the  collection  of  the  Duke  of  Brunswick  at  Wolf  n 
buttel.  Number  203  is  a  charming  Woodland 
and  is  a  good  example  of  the  artist's  earlier  period  : 
and  number  204,  The  Windmills,  is  a  delightful  little 
picture  full  of  feeling  and  brilliant  in  treatment.  It 
is  sad  to  think  that  Ruysdael,  who  may  justly  be 
called  the  originator  of  landscape  painting,  lived  in 
povertj  and  died  in  an  almshouse  at  1  [aarlem  in  1681. 
Ill  rearetwo  pictures  bj  Meindert  Hobbema,  Ruys- 
dael's  friend  and  pupil:  View  in  the  Neighbourhood  of 
,1  Dutch  Village  and  the  beautiful  Watermill.  The 
1  entral  pari  ol  the  latti  1  picture  is  filled  by  a  1  lu  sti  1  ol 
thick-foliaged,  grey-stemmed  trees  with  cottages  een 
among  them  :  under  their  deep  shade  a  man  and 
woman  are  walking  b)  the  side  of  the  mill-pool,  on 
the  extreme  righl  bank  ol  which  two  men  are  fishing. 
I  n  the  left,  t  ho  nigh  the  shadowed  foregn  mini,  a  d<  1  pi) 

lulled    road,  along    which    peasants   are   passing,  leads 

between  sunny  harvest  fields  towards  a  distant  village, 


Lady    Wantage's    Collection 


the  church  spire  rising  amid  sunlit  trees.  The  sky  is 
that  of  a  fine  summer's  day,  with  white  clouds  floating 
over  a  blue  surface.  The  leading  feature  is  the 
contrast  between  the  dark  shady  foreground  and  the 
sunlit  distance.  This  picture  was  in  the  ■  ollection  ol 
M.  Muller,  of  Amsterdam,  until  1827,  then  in  that 
ol  Baron  Verstolk  van  Soelen,  from  whom  it  was 
purchased  in  1S46.  It  is  signed  and  dated  on  tin- 
lower  edge  of  the  picture.  "  M.  Hobbema,  1664." 

The    Wood  at    the  Hague,   by  Jan  Hackaert,    is  a 
characteristic  example   of  this   master,  who  is  at    his 
happiest  in  representing  the  woodland  scenery  of  his 
native   country.      The   figure   and   animals   are    prob 
ably   by   Adriaen    van   de   Velde.      In   the    Verstolk 
catalogue    the    title    of    the     picture    is    augmented 
by  the  words:    "  Avec  un  depart   poui  la  ch; 
personnages    de    la   ('our   de    Guillaume    II."     This 
picture  was  in  the  collection  ol    M.  \  an   Koort,  neai 
Leyden,  and   then    in   that    of   Baron    Verstolk    van 
Soelen,  from  whom  it  was  purchased  in  1846.     Smith, 
in  vol.  iv.,  says  :  "This  is  a  production  ol  th 
excellence  and  beauty."    Waagen  also  mentions  it  (in 
his  Treasures)  :  it  was  exhibited  at  the  Royal   \< 
Old  Masters  in  187 1. 

The  most  interesting,  however,  ol  t li- 
the splendid   Commencement  <P  Or  age,  b)   R 
The  subject  is  a  view  taken  from  a  height  in  / 


in  the  distal  ol  the  sea,  while  in 

ground    is   a    river    which    emerges    from   a    narrow 

channel.       'I  he    tone    of    this    picture    is    a    beautiful 

golden   hue.  and    1 

sunlight  and  the  approai  hing  storn 

while  the  sky  is  a  splendid 

full   of   mo-  '  d    very   few 

landscapi  s  :  the   b  a  vn  as   Rem- 

brandt'i  Mill,  in  Lord  Lai 

( lassel  ( Sail 

Commencement  D'i  |  upil,  Philip 

de  tConinck,  who  1 

a  different  point  1 

A  line  1      n  ntly  in  the 

l n   ol       el  i 

not    only    tl 


The   Connoisseur 


Le  Conte  de  Vence  till 
the  end  of  the  eight- 
eenth century,  when  the 
gallery  was  sold  and  the 
picture  remained  perdue 
till  it  was  discovered  in 
the  studio  of  an  artist  in 
Paris,  where  it  was  said 
to  have  remained  un- 
noticed for  upwards  ol 
fifty  years,  when  it  was 
brought  to  England. 

In    the    adjoining 
room    hangs     R  e  m  - 
brandt's  Portrait  of  an 
Old  Lady,  supposed  to 
be    the    artist's     grand- 
mother.        In      the 
National    Gallery    is   a 
larger   portrait  of  the 
same  1  >utch   Frau,  and 
it  is  interesting  to  know- 
that  in  The   Connois- 
seur  Magazine  for 
May,    iooq,    there    was 
a  reproduction   of  a 
splendid    portrait    by 
Nicholaes    Maes    (then 
in    the    possession  oi 
Messrs.    Dowde swell) 
which    is    probably    a 
portrait    of  the    same 
elderly  lady  ;  in  any  ease 
the    likeness   is   a    strik- 
ing  one.       Lad}    Want- 
age's   picture    is   signed 
Rembrandt,   i    1661  ; 
the    original    drawing 
for  the  portrait  is  in  the 
collection   of   Mr.   J.    P. 
Heseltine. 

The   lady    is    dressed 
in  a  plain  widow    i  dl     i 
nearl;  blai  Land  a  blai  k 

i  ap  svhii  !'   des I     in 

a  point  on  hei  forehead, 
id  which  is  a  brooch, 
while  round  hei  nei  k 
•  hite  ruff.  As  a 
study  ol    \miI 

irtrail    is    un- 
ci.      The    old 
lady's    face,    though 
withered   and    wrinkled, 


is  full    of  vivacity    and 
expression." 

There  are  three  land- 
scapes by  Jan  Both  and 
one  by  Adam  Tynacker, 
both  Dutch  artists  who 
lived  and    studied    in 
Italy  during  the  seven- 
teenth century.    In  their 
work  we  miss  the  si  ion- 
individual  note  struck 
by  a  Hobbema  or  Cuyp, 
etc.    The  Italian  Land- 
scape,   No.    10,   by   Jan 
Both,    is,   however,   a 
line   example   of   this 
artist's  work,  and  is  re- 
markable for  the  clever 
rendering  of  warm  sun- 
light  suffused  through- 
out   the    picture  :    while 
Pynacker's    Italian 
Landscape:  Men  landing 
Merchandise,  is  a  charm- 
ing composition,    re- 
calling Claude  Lorraine's 
work  in  its  general  effect 
and    treatment.      Adam 
Pynai  ker's  easel  pic- 
tures are  rather  rare,  as 
he  was  chiefly  employed 
in   decorating  the  walls 
of  rooms  in   11  olland 
when  he    returned    late 
in    life    to    his    nati\  e 
country. 

The  great  naval  powei 
of  Holland  in  the  seven- 
teenth century  found 
expression  in  its  school 
ol  marine  painters, 
which  excelled  in  this 
most  difficult   branch   o( 

art.     Lady  Wantage  is 
the   fortunate  possessor 
ral  importanl  ex- 
amples by   Willem   van 

I  ..  pictun  '■'.  in  ''" 
Elections  ol  I  orcl  Charles 
.i,  Mr.  fohn  Smith, 
and  Baron  Verstolk  van 
Soelen.  Ii  was  purchased 
from  the  Verstolk  collection 
in  [846. 


Lady    II  'ant ages   ( 'oiled ion 


de  Velde,  Ludolf  Bakhuizen  and  Jan  van  de  Cappelle, 
all  of  which  merit  attention.  Willem  van  de  Velde 
shows  to  advantage  in  the  beautiful  canvas  entitled 
A  Calm:  Soldiers  Embarking.  The  artist's  extra 
ordinary  skill  int  he  drawing  of  the  barges, 
boats,,  etc.,  is  well  displayed,  while  the  whole 
picture  breathes  a  spirit  of  repose  and  calm.  The 
figures  are-  probably  by  the  artist's  brother— Adriaen 
van  de  Velde.  Some  critics  have  attributed  this 
canvas  to  Van  de  Cappelle,  to  whose  delicate 
and  subdued  tone  of  colour  it  bears  much 
blance. 

Still  Wafer  with  Shipping  is  another  charai  teristii 
sea  piece  by  the  master  ;  the  reflections  of  the  boats 
in  the  water  are  very  well  rendered,  and  the  sky  with 
beautiful  clouds  is  a  most  delicate  piece  of  painting. 

It  is  interesting  to  know  that  Willem  van  de  Velde, 
who  may  justly  be  regarded  as  the  greatest  marine 
painter  of  his  agi  . 
accompanied  his 
father,  the  elder 
Van  de  Velde,  from 
Amsterdam  to  Eng- 
land in  1675,  and 
settled  at  Green- 
wich. Charles  II., 
by  a  royal  "  ordin- 
ance," "thought  fit 
to  allow  the  salary 
of  ^100  per  annum 
unto  William  van 
der  Velde  the  elder, 
for  taking  and 
making  draughts  of 
sea  fights,   and  the 


"  This  picture  was 
purchased  from  the 
Verstolk  Gallery  in 
1S46.  Waagen,  in  his 
Treasures,  vol.  iv., 
says  :  "  This  picture 
shows  how  justly  the 
master  was  renowned 
for  his  calm 
Iransparency     of     the 


reflect! 
obje< 


unto  William  van  de  Wide  thi 
for   putting   the   said  draughts    into   1 
use.'' 

fan  van  de  Cap|  elle  is  the 

titled  A  Calm.    It  depicts  a  morning  effect. 

A   group   of  fishing  boats    I  with   sails 

man-of-war  firing  a 

gun,  and  otl  in   the  distance.     In  the 

immediate  foreground  of  sand,   wil 

with    fish   and    a 

the  shallow  water, 
one  carrying  a  basket,  the  other  unloading 
ire,  "  In  all  resp<  • 
delicacy  and  transpa 
picturesquely  conn  1 

il  belongs  to  the  best  work 

Ludolf  Bakhuizen  is  represented  by  two 

A    Stor,,,   oj  •  i  '    ami   .-/    Fresh 

mer    is    perhaps 
the    better     canvas, 

of  this  1 

votion   to 

his    art    was    such 

thai    he    I 

mis  upon 

the  sea   in 

w  in d  an  1 
upon  the  waters. 
Bakhuizen  has 
given  us  here  a 
forcible  rendering 
weather 
.  ith  his  ac- 
customed skill  and 
dexterity. 


• 


" 


sis 
lis 

HI 


•s>- 1 


Althou 
"  Japan  Cabinets 
the  vears — 


England  the  appreciation  of 

,varm  from,  at  least,  as  early  as 


"  While  cynic  Charles  still  trimm'd  the  vane 

Twixt    Qitcisii,!!!/?  anil    Ciistt'fininu 
In  days  that  shocked  John  Evelyn," 

we  did  not  employ  Oriental  panels  as  a  decoration  for 
our  native  cabinet-work.  We  attempted  a  thousand 
imitations,  and  produced  a  world  of  interesting 
decorative  furniture  in  that  manner,  but  as  to  the 
actual  use  of  antique  lacquer  in  an  European  setting, 
that  idea  appears  to  have  originated  in  the  France  ol 
Louis  XIV.,  and  remained  a  national  taste  for  very 
many  generations.  In  1664  the  Siamese  broughl 
many  examples  of  Oriental  lacquer  to  the  court  of 
Louis,  and  its  vogue  increased  as  persons  of  taste 
became  acquainted  with  its  exquisite  qualities.  This 
fashion  has  not  been  greatly  written  upon,  nor  have 
the  actual  pieces  been  reproduced  until  recent  years. 

The   world  of  connoisseurship   has  been    • 
getically  exploited  during   the  last  fifteen   years  or  so, 
that   it   is  exceptional,  at   least  in   regard  to  furniture, 
to    find    a     subject     which     retains     some    I 
Although   well   known   to  all    admirers  ol    th 
French   periods,  very  little  notice   has.  however,  been 
taken  of  this  important  method  which  the  cbc'nistes 
of  the  seventeenth  and  eighteenth  centuries  used   to 
add  still  another  note  of  distinction  to  then 

remarkable   creations.     The  chapter   

find   in    the    late    Lady    I  Hike's    charming    work    on 

French    furniture    and    decoration    do 

to   have    been   written,  and   yet    th< 

duction    of  various    kinds    of  antiqu 

Japanese   lacquer  into  the  panels  ol 

tury  furniture  was  freely  employed.     Sue! 


have  been  admired  and  bought    by   th 

of  the  earth  from   I  I    produced 

under  the   pal  L  uis  \l\  .  and  i 

Court  even  unto  the  present  tint 

never   flagged   nor  failed,   although   the 

course   far   larger  to-day  than  at  any  other  period  in 

the  history  of  these  elegant  exampl         • 

over  a  hundl 

last  twenty^.  :   years  of  Lou      Quatorze,   under  the 
throughoul   the  I  •    ■  us  Quinze 

— duriii-  1  hanges  of  style,  whether  early 

or   late    Pompadour,   or    R.01  oco  01    du    B 

while  Louis  ^•■i/r  ami  Marie  Antoinette  still   reigned. 

even   undei    Napoli  on, 

artists   was 

combined,  with   unfailing   skill,  by  the  most   exquisite 
ni  h  (  ouri   cabii  1  their  own 

admirable  work. 

;  1    ration    No     1     -hows   the   kind   ot   chest 

the  panels 
ii.  and  iii.. 

ind  princes 


The   Connoisseur 


' 


the  bark  is  cul  oi  si  ored  with  a  pointed  bamboo 
.ink's  a  white  n  ;inous  >ap  which  becomes 
rapidly  black  on  exposure  to  the  air.  The  sap  is 
drawn  from  the  tree  during  th  summet  al  night, 
i  i ill:  iii  1 1  111  111  IK.  and  brought  to  market  in  a  semi 
fluid  state,  or  drii  d  into  cakes.  The  raw  lac,  after 
pieces  ol    bark  and  otb  i   ai  i  idental   impuritii  i  ha^ 

fOl     li  iiin:  Inn 

tn  crush  its  grain  and  give  it  a  more  uniform  liquidity. 

It    i     th  mpen  <  loth,  .mil   i :   a 

-  \   nly  flowing  liquid  ready  for  the  lacquerer's 

This  is  a  very  brii  I    stati  menl   i  >l   the  m  I 

'Aim  h  tl  i  iniiii  and    [apan  produi 


fine  decorations  which  are  shown  in  the  illustrations 
here  given.  As  with  almost  all  Chinese  aits,  the 
further  you  go  back  into  the  past  ages  the  mot 
beautiful  the  workmanship,  and  thus  the  early  pieces 
shipped  to  France  undei  Louis  XIV.  will  often  be 
found  to  be  ol  the  most  brilliant  and  effective  quality. 
But  it  was  during  the  Regency  and  undei  the  next 
kmg  that  the  us,-  was  iiiosi  largely  developed.  The 
period  ol  Louis  XIV.  was  statel)  and  unb  tiding 
to  the  last  i  ....  ration,  although 

grand   and   dignified,  did   not   allow  of  the   slightest 
pi  rsonal    quality.      It    was    for   the    palai  e,   pal.ni.il. 
I'.lii    later    the    graces    of    life    were    permitt  d    and 
id  to  ilom ish.     The  grand  da) s  wen   really 


'  ',  and  tit, 

■ 

i 

I:  .,:,  B. V.R.I 

,,.,,■  * 


The    Connoisseur 


over,  but  beauty  was  sought  for  in  every  way  the 
lively  mind  of  man  could  suggest.  The  old  Oriental 
lacquer  in  Louis  XV.  furniture  suited  uncommonly 
well  with  the  vanity  and  elegance  ol  the  age,  and 
most  of  those  examples  now  surviving  belong  to  that 
i  xternall)  great  period  when  the  beautiful  Madame 
de  Pompadour  and  her  accomplished  brother,  the 
Marquis  de  Vandieres,  afterwards  de  Marigny,  de- 
o  much  time  to  the  domestic  and  fine  arts, 
from  the  cultivation  of  the  soft  paste  porcelains  of 
Sevres  to  the  decoration  of  their  houses  and  the 
development  of  the  sophisticated  rusticity  which 
Boucher  understood  so  well,  all  was  easy  and  delight- 
ful to  the  Pompadour  and  her  army  of  accomplished 


Itlsl- 


one  of  whom  so  charmingh  painted 


"  Rose-water  Raphael,  en  toulem  de  rose, 

The  crowned  caprice,  whose  sceptre,  nowise  sainled, 
Swayed  the  light  realm  of  ballets  and  lion-mots  — 

Ruled  the  dim  boudoirs  tlriiii-joni;  or  drove 
Pink-ribboned  Hocks  through  some  pink  (lowered  grove.' 

In  this  wonderfully  artificial  and  yet  attractive  world, 
the  very  centre  of  which  was  Madame  de  Pompadour's 
small  but  beautiful  chateau  of  Bellevue,  there  was  plenty 
of  space  for  the  various  classes  of  armoire  and  cabinet 
which  appear  in  the  illustrations.  The  line  inkstand. 
Xo.  vii.,  might  have  been  made  especially  lor  the 
always  anxious  and  always  pleasing  favourite  to  glA 
to  her  king.  In  this  specimen  the  old  Japanese 
lacquer  is  of  a  jewel-like  character,  which  Caffieri's 
bronze  and  gilded  mounts  set  off  to  perfection. 

/: 'lulled. ) 


L,    pauvre    //na/i/  pns  -'  »' 

El   ./■ 


a— ^ 


KSILHGUEITES 


Mr.  Francis  Wellesley's   Collection    of    Profile    Portraits 
By   Weymer  Jay   Mills 

There  is  a  charm  and  wistfulness  about  the 
silhouette  that  is  not  shared  by  any  other  form  of 
portraiture.  Beauty  preserved  by  the  brushes  of 
great  masters  may  give  beholders  powerful  emotions, 
hut  the  silhouette  is  sure  ol  its  subtle  appeal.  "We 
are  only  friends  with  shadows,"  ( ieorges  Sand  wrote,  . 
and  upon  entering  rooms  like  Mr.  Wellesley's  sil- 
houette morning-rooms  in  his  country  house  at 
Mayford,  Surrey,  one  feels  the  poignancy  of  the 
remark.  There  upon  the  walls  are  the  little  shadow 
likenesses  of  the  great  of  two  centuries.  "  We  art;  all 
that   remain   of  the  page- 


ants of  many  lives  !  "  they 
seem  to  cry  out  to  us. 

The  Wellesley  silhou- 
ettes form  probably  the 
largest  collection  in  exist- 
ence.     In    row   after    row 

amples  of  the  eighteenth 
and  nineteenth  centuries 
Each  one  has  its  romance, 
and  is  more  or  less  of  an 
historical  document. 
They  begin  with  Early 
English,  French,  and  ( Jer- 
m. m  ones,  contemporary 
with  Etienne  de  Silhou- 
ette, the  Fit  nch  Minister 
of  Finance,  who  made 
them  the  fashion,  and  they 
go  on  in  bewildering  array 
until  the  late  queen  had 
ascended  the  throne. 
There  they  stop,  for  the 
mid- Victorian  silhouettes 


have  no  value  in   the  eyes  ol  a  collector.     Tl 
the   silhouettes  thai   i 
from  the  wini 

true,  though,  that  they  are  not  so  plentiful  as  they  were 
abroad  that  Queen 
Alexandra   was   silhouette   hunting,   there  hi 
new  interest  in  them,  and  dealers  have  grown  wary. 
The  last   quarter  of  the  eighteenth  century  seems 
to  have  been  the  best  period  of  the  profile  likeness. 
Robinson  still  grai 
:  in,  and  fanny  Burnej  ■■ 

■  hair,  and 
sighing  becaust 
not    find    tune 

;  when 
II 

•  imitating 
the  English,  am 
j  lish    were    imitating   the 

\  Ireneh,   and    1 

"hen,  '  Madan 

I 

smiled    upon    ■ 
he   lik 


The    Connoisseur 


collection  there  are 
at  least  thirty  of  his 
most  beautiful  ex- 
amples— women  and 
men  whose  youth  has 
he  en  immortalised. 
He  gave  an  idealisa- 
tion to  hair  and  fea- 
tures that  none  of  his 
dozens  of  itinerant 
followers  ever  ap- 
proached. Many  of 
Miers's  pieces  are 
signed,  and  his  six- 
inch  ovals  w  e  r  e 
framed  in  a  peculiar 
kind  of  pear-tree 
frame,  the  glass  being  kingsl 

slightly     embellished 

with  black  and  gold.  These  frames  were  always  labelled 
with  the  following  advertisement:  "  Miers,  profile 
painter  and  jeweller  (in,  Strand,  London),  opposite 
Exeter  Change,  executes  likenesses  in  profile  in  a  style 
of  superior  excellence,  with  unequalled  accuracy,  which 
conve)  the  most  forcible  expression  in  animated 
character  even  in  the  most  minute  size  for   brooches, 

lockets,    etc        Time    of 

sitting,   three   minutes. 

Miers  preserves  all   the 

original   sketches,   from 

which  he  can  at  any  time 

supply  copies    without 

the   trouble  of  sitting 

again.    N.B.-  -M  inia- 

ture  frames  and  convex 

glasses,    wholesale   and 

retail."      M  iers  came  to 

London   from    Leeds, 

and   Ins   earliesl    advei 
,ii  m  read,  "  I  ,ate  ol 

II;,' 

was  in  the  Strand,  "op- 
posite the  \''.n  <  hui.  h." 
<  )ne  i>i  hr,  greate  il  rivals 
■.  Mi  irles,  also  ol  the 
trand  ■•■.!"1  i  ;ned  him 
Royal  Artist"  by 
"  Florizel's    pi  rmission. 

He    drew    Ins   likenesses 

on   paper,   leaving   the 

n    ihadow  and 

tinting  the  figure,     1  lis 

■    in  uch 

man   and 


Grassmeyer,  the  Ger- 
man silhouettists  of 
the  same  peri  oil. 
Rider  of  Temple  Bar 
was  another  follower 
of  Miers,  and  imi- 
tated his  work  and 
style  of  framing. 
Other  plaster  artists 
were  Richard  Jorden 
and  one  Thomasson. 
In  Paris  the  famous 
Gonord  painted  on 
plaster  and   paper. 

Silhouette    like- 
nesses were  generally 
given  away  as   sou- 
venirs of  affection, and 
,AMILY  were   often    ordered 

two  or  three  at  a  time,  for  duplicates  have  strayed  into 
the  Wellesley  collection.     One  priceless  silhouette  was 
done   of.  Robert  Burns  by  Miers  in    1787,  and   sent 
by   the    poet    to    his    friend    John    Cotterall.     Some 
persons   had   small   galleries   of  their  friends.      Mrs. 
Fitzherbert  had  such  a  gallery  in  her  Brighton  house, 
which   was  the  delight  of  the  old-time  children  who 
smiled  their  way  into  her 
acquaintance.    Even  the 
king  did  not  think  it  be- 
neath  his   dignity  to  sit 
for    his    silhouette,    and 
when    his    favourite 
painter,  Benjamin  West, 
was  away  from  Court,  he 
must  have  become  quite 
addicted    to    the    habit, 
judging  by  the  number 
anil  variety  of  his  like- 
nesses.    The   Wellesley 
collection  has  two   ver) 
line   ones    pa  1  11 1  eil    on 
black    glass.       A    unique 

one  oi  the  -.mie  period 
is  of  <  leneral  Fitzpatrick, 

whofought  in  theAmeri- 

111  \\  .11,  1  778.    This  is 
on    sihi  red    glass    ileco- 

ratedwithgold.  Anothei 

curious  one  ol   the   king 

was  painti  il  on  a  W'or 
r  cup.  w  e  <  a  11 
imagine  George  111 
climbing  the  stain  ase  ol 
his"deai  Mis.  DelanyV 


The  IVellesley  Silhouettes, 


little  house  at  Wind- 
sor to  present  her 
with  one  of  his  silhou- 
ettes, and  she,  justly 
esteeming  it,  kept  it 
hidden  away  to  wan- 
der down  the  years. 
Some  of  our  ancestors 
owned  quaint  albums 
of  silhouettes,  (  iM  the 
table  in  Mr.  Welles- 
ley's  library  is  such  an 
album,  formed  by  a 
German  baron  in  the 
middle  of  the  eigh- 
teenth century.  Each 
page  is  within  an 
elegant  border,  and 
the  book  contains  a 

hundred  or  more  likenesses  of  a  circle  that  looks  mum:' 
thing  of  an  ancient  "  Cranford."  It  is  rather  a  male 
Cranford,  for  the  sterner  sex  is  in  the  majority.  The 
student  of  old  manners  and  customs  could  obtain  a 
world  of  information  from  their  wigs  alone,  for  there 
are  drop-wigs  and  buckle-wigs,  Grecian  flies,  fox-tails 
and  macaroni  toupees,  each  expressive  of  the  wearer's 
character.  Certain  of  these  beautiful  eighteenth- 
century  albums — one  done  by  Lavater,  it  is  said  — 
have  come  to  light  in  exhibitions  of  silhouettes  held 
in  German  cities.     Although  the  silhouette  was  born 


FREDERI' 

(f^ftaisc'du  ftincc  ^Couis  Q.  Ch  . 


in  France, the 
in  the  art  was 
transported  I 
many.    The  h 

in  the  Weill 

ique,  l 

II       ;    Dai 

family   of   Meintz 

with   their  beautiful 
yellow  and  pink  back- 
grounds, Count  Briihl  and  his  da  izabeth 
Sophia  I  lorothi  a  \  01                                 ol  Bismarck, 
who  was  painted  in  1 756. 

Patience 

Wright.  re  lam. his  for  her  wax  profiles. 

Adams,  the  wife   ol  the  American   Ambassador,  who 

1  arm    in   l  ondon  in  the      >rii 

and   described  her  as  "the   queen   of  sluts."    This 

artist,   from    hei    freedom    ol     peech  and  familiarity 

with   her  sitters,  made    qui!  in    London 

lor  .1  time,  ami  managed  to  get  herself   into  a  novel 

in  company  with  a  choii  e  group 

including  the  famous  Montagu.     Mrs.  Wright  cut  her 

silhouettes  with  a  sharp  poin 

made  the 


mil    .inmi 


contains      a 
Ol     Do  1  ti 

il  i  stinguish- 


The    Connoisseur 


in  the  left  hand  and  the  scissors  in  the  right,  was 
thought  such  a  genteel  and  elegant  accomplishment 
that  it  became  a  part  of  the  art  curriculum  of  young 
ladies'  seminaries,  and  had  its  place  after  the  tea-hour 
with    its    intimate,   the    embroidered    picture.       One 


PERD1TA         ROUINSON 

wonders    if  poor    Becky   Sharp  snipped  away  at  the 
turbaned  head  of  Miss   Pinkerton  at  some  vanished 
window   facing  Chiswick   Mall.     "A    nose   like    the 
beak   of  a   wherry"  must   have  been   a  temptation. 
bath,  the   Mecca   of  all   eighteenth-century  artists 


RNll    II 
!l8 


The  IVellesley  Silhouettes 


during  the  few  weeks 
when  My  Lord  or  My 
Lady  left  the  dull  shire 
for  a  sip  or  two  of  the 
waters,  and  a  galnw  of 
other  di  versions,  was 
always  the  home  of  the 
silhouette.  Women  like 
the  I  an  Lindley,and  men 
of  the  firebrand  "Sherry" 
type,  were  sure  to  be 
calling  upon  Rosenberg 
at  all  hours.  Cupid  had 
a  way  of  dashing  about 
those  old  pump-rooms 
and  playing  pitch-and- 
toss  with  the  affections. 
.Mr.  Rosenberg's  1 1  ioms 
were  quite  near  the  cele- 
brated Gainsborough's, 
and,  judging  from  the 
crowd  of  Bath  shadows 
tnat  have  come  to  Mr. 
Wellesley,  Rosenberg's 
ante-chamber  must  have 
been  as  crowded  as 
that  of  Gainsborough's. 
Many    of    them    are 


nameles  . 

able    only   for    their 

beauty   Ol    I  xe<  Ution    or 

quaintm 

Who    w 

and   bumpkin 

broken 
painted     i 

was  evidently  I 

famous  exponent  of  that 
art.      His   pictui 

taken  always  on  plain  or 
I  .latter 

have   b.i 

and   \ ai ions   ■ 
tions.  and 

come  upon  them  in  all 

sorts    of    out-of-the-way 

iks  and 

»;  inland  towns. 


The    Connoisseur 


VNTOINETTE 


attics  of  Irish  country  houses,  rag  fairs,  and  heaven 
knows  where.  ( )n  the  back  of  each  portrait,  scarcely 
decipherable,  there  is  that  magic  word  Bath.  The 
pictures  try  to  whisper  ot  those  days  at  the  gay 
resort — of  moons  and  flickering  tapers,  of  the  music 
of  "Id  gavottes  and  roses  that  bloomed  long  ago. 


The  French  corners  of  the  Wellesley  rooms  art- 
all  sidelights  upon  history.  The  oldest  French 
portraits  in  the  collection  are  mounted  upon  faded 
blue  paper,  and  with  their  riband  and  nosegaj 
decorations,  the  profiles  have  some  of  the  delightful 
quality  of  Moreau  drawings.  Silhouette  probably 
cut  one  or  two  of  them  himself.  Near  them  stand 
the  original  Figaro  and  the  original  Suzanne,  wittily 


VBETll      VON  


The  IVellesley  Silhouettes 


talking  over  the  Mariage  de  Figaro,  and  just  beyond 
is  a  simple  one  of  Marie  Antoinette,  whose  smiles 
they  sought  in  life.  The  French  queen  is  painted  on 
Paris  plaster,  and  she  is  simply  dressed,  and  wears  a 
garden  hat.  This  portrait  was  probably  done  at  Ver- 
sailles when  the  ladies  of  the  court  were  trifling  with  a 
milkmaid  existence.  Another,  of  Napoleon  overlooking 


a  battlefield,  is  an  Edouart  piece  drawn  from  the  imagi- 
nation.      Edouart,   a    Frenchman   who   sp 

several  in  th     •'  illection  showing  the  ornate 

interiors   of    1S30.      His  work    is    much    SOU 

by  collectors,  anil  is  generally  found  in  golden  maple 


The    Coiinoisseu?' 


and  sat  in  wood 
frames.  His 
pictures  are 
often  come 
upon  in  (  Kford 
as  well  as  Cam- 
bridge, and  he 
may  have  gone 
from  one  Uni- 
versity to  an- 
other. Some 
belonging  to 
the  father  of 
"Alice  in  Won- 
derland "  were 
disposed  of  at 
the  latter  place. 
Near  Napoleon 
is  a  man  who 
looks  like  the 
Marquis  d  e 
Lafayette.  He 
has  bee  n 
sketched  before 
t  h  e  panorama 
of  Paris.  Mile. 
M agan  of  the 
( )pera  by  Mar- 
tini comes  next, 
and  by  her  side 
is  Beautnarchais 
staringat  I  >azin- 
couit.  Perhaps 
lie  is  remem- 
bering the  night 
the   celebrated 

Met  or     essayed 

the  role  of  the 

barber.       B) 

Beaumarchais  is   Louis  XVIII 

and  so  they  continue  leading  01 

About  the  tin I  Edouart  there  were  several  more 

or  less  well  known  English  profile  artists — Foster  and 
Harding  ol  London;  Atkinson  of  Windsor  :  Wilton  of 
Port!  ea  ;  Franklin,  who  cut  silhouetti  s  in  the  Thames 
Tunnel  ;  II.  \  J.  Walter  ;  Loecksi,  a  travelling  Pole, 
who  went  from  city  to  city  holding  exhibitions  and 
distributing  cards  proclaiming  his  talents  to  the 
••  nobility  and  g(  ntry.'  1  [e  i  ul  silhouettes  at  his 
exhibition  during  the  day,  and  after  six  o'clocli  was 
free  to  visit  houses  for  sittings.  Perhaps  the  n.10  I 
noted  town  man  was  Mastei  Hubard.  The  Princess 
\  ii  toria  went  to  him  when  a  young  girl,  little  dream 
ing  thai   she  was  soon  to  awake  at   Kensington  and 


the  work  of  Gonord, 
back  into  yesterday. 


hear  guns  that 
would  proclaim 
her  queen.  Hu- 
bard painted 
with  India  ink, 
and  much  of  his 
work  is  overlaid 
with  gold.  Hats, 
lace,  and  jewels 
were  wonder- 
fully done  by 
Foster  ;  and  a 
( lerman  of  the 
period,  Henrich 
Kniger,  added 
touches  of  bril- 
liant colour  to 
his  black  draw- 
ings—  fox-hunt- 
ers, town-criers, 
bell  -  ringers, 
school -masters, 
and  actors 
seemed  fond  of 
being  portrayed 
with  black  faces 
and  coloured 
bodies.  The 
fashion  was  a 
quaint  one,  and 
m  a  d  e  most 
persons  look  as 
if  they  had 
stepped  'nit  of 
the  pages  of 
Charles  Lamb 
or  some  other 
w  h  i  m  s  i  e  a  1 
on  author. 

Of  all  the  silhouettes  in  the  Wellesley  collection, 
perhaps  the  most  charming  are  those  of  early  child- 
hood. There  are  any  number  of  playful  children 
captured  at  the  romping  hour — girls  holding  single 
flowers  and  garlands,  with  branches  ol  cherries  like 
John  Russell's  famous  Cherry  Girl,  and  boys  fingi  i 
ing  hoops,  tops,  ami  diums.  Then  then-  is  more 
serious  youth  with  its  hooks,  meditations,  and 
primly-folded  hands.  It  is  all  quaint  and  fanci- 
ful enough  to  have  found  favour  in  the  eves  ol 
■sir  Joshua.  Oh,  those  happy  children  who  have 
long  since  thrown  down  their  toys'  Although  w 
li.t\i  only  these  shadows,  we  can  catch  the  shrill 
treble  of  their  voices  and  the  patter  of  their  loot 
steps. 


wk 


Some    Artistic    Door=KnocRers 


By    H.   B.  Westerham 


Macbeth.— Whence  that  kno  king      (Kno 

Hew  is  it  with  me  when  cvi'i  \    inn -i'  ,n  .1.1 


Porter.      1 1    r.    -    i  U no.  king,  puk-cl  !  i  Kno  km-  within.) 
Knock,   knock,  knock!     Who's  there,    i'    the   name  ol 
Beelzebub  ? 

It  is  not  so  many  years  since  that  there  was 
dug  up  in  Morayshire  an  ancient  iron  heurioir  ol 
rude  and  ponderous  workmanship,  which  one  valiant 
Scottish  antiquary  did  not  hesitate  to  suggest  might 
have  been  the  very  implement  which  so  awoke  the 
echoes  of  that  memorable  night  at  Macbeth's  castle. 

As  to  the  antiquity  of  door-knockers,  they  are 
probably  not  much  less  ancient  than  that  period 
when  civilisation  and  the  desire  of  privacy  decreed 
that  doors,  having  superseded  hangings,  should  be 
locked,  barred,  and  bolted.  A  curious  early  form  is 
a  short  iron  rod  suspended  by  a  chain,  but  as  this 
constituted  a  too  convenient  missile  to  hurl  at  the 
owner  of  the  dwelling,  it  probably  did  not  long 
survive.  In  the  early  Middle  Ages  the  iron  or  bronzi 
handle  fastened  securely  on  the  outside  of 
was  itself  a  most  effective 
knocker,  and  for  a  long 
time  the  knocker  therefore 
fulfilled  a  double  duty, 
being  a  heavy  round  ring 
suspended  to  a  stout  clamp, 
and  almost  totally  devoid 
of  artistic  pretensions.  It 
is  curious  that  in  modern 
flat  life  in  London  to-day, 
where  the  knocker  has  been 
superseded  by  electric  bells, 
the  flap  of  the  letter-box 
commonly  serves  the  same 
purpose  as  a  door-knocker 
by  those  whose  business  or 
inclination  leads  them  to 
knock  as  well  as  ring. 

By  degrees  the   heavy 
iron  or  bronze  ring  yielded  knock 


.1.  ii  n 


to  the  influence 

chasing  and   bevelling,  as  in   s.  . 

seen  in  the  national  collection  at  South   Kensii 

Then  the  support,  from  beingamere  plaque  of  metal. 

began  in  the  age  of  the  blacksmith  I 

shapes,  until  we  see  evolved  some  verj  fii 

of  delicately  wrought   work    before   the   handle  itself 

had  emerged  very  far  from  its   primitive  ring-shape. 

The  appearand'  of  the  subjacent  striking  knob  marks 

a  stage   in  the  evolution   of  the   knocker   proper,  and 

when  the  suspended   metal  serves  no  othi 

but  that  of  "  committing  a  friendly  but  ob 

assault  upon  a  door,"  then   the  true  marh  ■■  ■ 

porte  is  fully  evolved.    The  thick  ring  or  h; 

way    to    a    slender    bar    of    metal,    terminating    in   a 

hammer.      During   tin-  transition   period   of   ironwork 

in   the   fifteenth   century  mo  :  bellishment 

was  still  directed  towards  the  back-plate,  ai  i 

:    itself.      Then   the    Renaissance  and   the 

know  who  it 

German  or   Italian   wo 

first  saw  in  tl  ibilities  for 

sculptural   treatment.     A 

h   (most 

commonly  a  dolpl 

times    that   combination    of 

nings.     Th 

until,   in   the   hands   of  the 

Italian   n 

Giovanni    di    l>oli 

great  exten 

showing  ' 

company  i 
knocker,  !■ 


The   Connoisseur 


palace.  Two  cherubs  bearing 
a  scrolled  shield  are  astride 
a  pair  of  dolphins,  a  shell  at 
the  base  of  the  design  serving 
as  handle  to  the  knocker. 
Another  Italian  knocker  shows 
us  Neptune  and  a  couple  of 
sea-horses.  Indeed,  in  the 
hands  of  some  of  the  French, 
( Irrm.in,  and  Italian  sculptors 
almost  any  design,  even  to 
groups  of  lour  and  five  figures, 
was  adapted  to  the  purpose, 
until  all  simplicity  and  sug- 
gestion of  utility  wire  lost,  and 
the  door-knocker  became  a 
kind  of  hanging  statuette. 
Alter  a  century  and  a  half 
there  came  a  return  to  sim- 
plicity, and  even  to  primitive 
severity.  The  knockers  with 
which    the   eighteenth-century  bronze    knocker 

,-  ,  •      ,  ■  ,     ,    .  FROM     THE     PALAZZ 

Englishman  equipped  his 

front  door   were    less    things   of   beauty   than   utility. 

They  were  cast  from  a  half-dozen  patterns,  amongst 

which  a  lion's  head  or  a  clenched  hand  were  favourites, 

and  only  occasionally  did  one  come  across  a  human 

lace    or    a    reversion    to 

the   dolphin    or   dragon 

type.    When  the  fashion 

"I   brass  k  n  oc  k  e  rs  set 

in,  these  were  usually  of 

the  plainest  description 

— a  curved  far  ol  metal 

and  nothing  more. 

It  is  not  to  be  denied 
thai  .1  powerful  fai  toi 
in  i  educing  the  door- 
knocker, as  well  as  the 
bell-handle,  to  its 
simplest  and  smallest 
(as  well  as  most  inex- 
pen  iivi  )  dimensions 
pli  asa  ni  pre 
\  ii  torian  pastime  of 
wrenching  the 
from  tin  11  soi  kets,  a 
pastime  with  whii  h  the 
am  ient  wati  hmen  very 
ineffectually  intei  fered. 
w  hen  a  householdei 

had    no    guarantee    that 
i 

knockei   a  week   from 


this  cause,  he  was  not  very 
apt  to  spend  much  money  on 
objects  which  were  costly  and 
ornate. 

A  door-knocker  is   so   pro- 
foundly interesting  a  symbol 
that,  however  it  may  be  super- 
^•JS^..J  seded  by  less  resonant  and 

imperative  contrivances,  there 
will  always  be  some  house- 
lovers  whose  house-pride  not 
only   will    never  consent  to 
depose  them   from   the  front- 
door, but  will   even  devise 
new   and  pleasant  forms  for 
them  to  take.    There  are  even 
collectors  and  connoisseurs  of 
knockers.      There  is  a  beauti- 
ful set  of  them   in  the   South 
Kensington  Museum,  and  one 
private    collector    is    reported 
to   have   upwards    of  foity 
interesting  varieties. 
"The   door-knocker,"  as   has  been  well   said,   "is 
a  silent  witness  of  much  human  emotion.     It  has  an 
integral  part  in  the  life  of  the  home  it  guards."    It  was 
probably  a  conviction  of  the  truth  of  this  sentiment 
that  induced  the  late 
Dante  Gabriel  Rossetti 
to  reject  altogether  the 
prosaic    knocker    which 
the  builder  of  his  Chel- 
sea house  tried  to  palm 
off  upon   him,  and    to 
design   one    more   in 
keeping   with   his  own 
taste  m  these   matters. 
This    knocker  has  long 
attracted  great  attention 
on  account  of  its  work- 
manship :   but    it    is    far 
more  notable,  one  may 
opine,    for    its    personal 
associations — a    remark 
doubtless   true   of  the 
same  implement  on  the 
doors  of  all  gn  at   men. 
Another  aitist's  dooi 
knocker    is    that    which 
Sit    Lawrence    Alma- 
Tadema  has  affixed  to 
his   house   in   St.  John's 
Wood,   copied   from   a 
Roman   comic   mask. 


The   Connoisseur 


This  brass  knocker  has  attracted  far  less  attention, 
perhaps,  than  it  deserves,  because  it  does  not  face 
the  street,  but  an  inner  courtyard,  and  is  so  far 
screened  from  the  admiring  gaze — and  perhaps  the 
cupidity — of  the  passing  pedestrian. 

Sometimes  it  happens  that  a  beautiful  knocker, 
from  its  very  closeness  to  the  street  in  a  bustling 
neighbourhood,  will  escape  the  attention  it  merits. 
Think    of    the    thousands    who    daily    perambulate 


BRONZE     ABBEY     KNOCKER  FIFTEENTH     CENTURY 

Piccadilly,    and     the     few    who    notice    the     pair     ol 

knockers   which   adorn   the  outer   wall   of  the    Duke 

mshire's  town  bouse  in  that  thoroughfare.    The 

knockers  themselves    are   a    survival.      Until    a  few 

N  .  ago  the  paii  ol  wooden  gates  upon  which  they 

are   fastened   formed   the   only  entrance   for   visitors 

on   toot  to   Devonshire   House.     Now  splendid  iron 

gates  have  been  en  cted,  ami  the  portei  is  summoned 

by  a  bell.     Ni  i  entrance  ol   wood  and 

o  kers  remain,  although  the  latter  are 

ivi     '  i  mi      ui      i mil,  which  detract 

somewhat  from  their  beauty. 

many  Other   artislie   knoekeis   to   be     een 
in  the  West    End.      Several    examples    ol    the   dolphin 


DUKE     OF     DEVONM11K1.   S     KNOCKER      I  PICCADILLY 


knocker  occur  in  Mayfair.  There  is  a  pair  at  No.  2, 
Connaught  Place,  and  there  is  a  specimen  of  the 
single  sort  at  No.  57,  Cur/on  Street.  But  those  on 
the  door  of  the  Marquess  of  Bath's  house  in  Berkeley 
Square  are  easily  the  finest  examples  of  the  dolphin 
knocker  now  in  London. 

There  is  a  mermaid  knocker  at  No.  25,  Queen 
Anne's  (late ;  that  on  the  door  of  Mr.  Asher 
Wertheimer,  at  No.  8,  Connaught  Place — a  circlet  of 
acanthus  with  ribbon  scroll— is  of  chaste  design.  So 
that,  upon  the  whole,  the  taste  for  beautiful  knockers 
still  exists,  and  may  in  time  become  a  cult. 

If  we  turn  from  merely  artistic  excellence  to  artistic 
associations,  we  shall  find  in  a  tour  of  the  London 


"  CARDINAL    YORK 
HENRY    BENEDICT     BLEMENS    ! 
BORN    172S  :     DIED    1807 
ENGRAVED    IN    PURE    MEZZOTINT    I 
FROM    A    PAINTING    BY     LARGILLIEE 
Bv  permission  of  the  publisher,  Mr 


Some  Artistic  Door-knockers 


residential 
streets     stil'. 
much    to    re 
pay    u 
knocki 

J  o  h  i)  s  o  n  '  s 
house,  No.  1 7. 
Gough  - 
that    0 

( larlyle's  house 
at  Chelsea,  and 
the  knocker  at 
No.  10,  1  •own- 
in-  Street,  are 
disting  u  ished 
in  their  history. 
They  have 
been  grasped 

DICKENS     KNOCKER,     LATELY     IN  111  1 

CRAVEN     STREET,     STRAND  ty    the     »  ll  »  d  S 

of  the  greatest 
men  of  their  time.  There  is  one  knocker,  lately  passed 
into  the  hands  of  a  collector,  which  is  declared  to 
have  suggested  a  celebrated  character  in  fiction. 

The  celebrated    Pickens  knocker,  at   one  time  on 
the  door   of    Xo.    8,    Craven    Street,    Strand,    recalls 
the  opening  of  the   Christmas   Carol,  where   S 
is  confronted  by  it  on  his  own  doorstep.     He  had 
just   arrived    home   through    the    dense   fog.     "  Now 
it  is  a  fact,"  the  author  says,  "that  there  was  nothing 
at   all    particular   about    the    knocker    on    the    door. 
except  that  it  was  very  large.      It  is  also  a  fact  that 
Scrooge   had   seen   it    night  and   morning  duril 
whole   residence  in   that   place.     .    .    .     And  thus  lei 
any  man  explain  to  me,   i(  he  can,  how  it  happened 
that  Scrooge,  having  his  key  in  the  lock  of  the  door. 
saw    in    the     knocker,    without    its     undergoing    any 
intermediate   process   of  change,   net  a   knocker,   bul 
Marley's    face    .    .    .    like    a    bail    lobster    in    a    dark 
cellar.      It    was    not    angry   or    ferocious,    but   looked 
at    Scrooge   as    Marley   used    to    look,   with 
spectacles  turned  up  on  its  ghostly  forehead.     'Hie 
hair    was    curiously    stirred,  as   if   by   breath 
air  ;  and  though  the  eyes  were  wide  0] 
perfectly  motionless.     That  and  its  livid  colour  made- 
it  horrible  :   but  its   horror  seemed   to   be   in 
the  face,  and   beyond   its  control,   rather  than   a   pail 
of  its  own  expression." 

Charles   Dickens   was  a  great    authority   i 
knockers,  and  his  novels  are  full  of  th 
and    etiquette    of    the    many    he    describe 
Ralph  Nickleby  visits  his  poor  relation    al  Miss  l.a 
Creevy's  house  in  the   Strand,  she  tell 


low  the 

■  in  a  n 

where   the    bell 

is,  and  tell  him 

mustn't 

knock    d 

for  the 
e.  ond 

knock 

when  the  bell's 
broke,  and  then 
it  musl 

of  the  Theatre 
Royal.    l)i  -un- 


heal policemen  and  play  at  coaches  with  other 
people's  money,  and  all  that  sort  of  thii 
Mr.  Lillyvick,  with  his  worldly  knowledge,  explains 
it  by  the  one  word  "aristocratic.''  When  poor  Mr. 
Kenwigs  becomes  a  parent  for  the  sixth  time,  he 
sends  out  for  "a  pair  of  the  cheapest  white  kid 
hi  ise  at  fourteen    ,  lecting  the 

:  hand  one, 
with  an  air  of  pomp  and  much 
excitement,  and  proceeded  to  muffle  the  knob  of 
the  Street  door-knocker  therein,"  for,  as  the  author 
says,  "  there  are  certain  polite  forms  and 
which  must  be  observed  in   ■    -.  I    mankind 

ielap.se  into  their  original  barbarism." 

In    Ringsgal  :  Street,  Hi  i   -     Mrs.  dan. p. 

whose  street  door-knocker,  it  will  I 

to  wake  the  street  with  ease,  and 
even  spread  alarms  of  fire  in  Holborn  without 
making  the  smallest   impression  on   the   | 

It   was  tliis  same  knocker 

his  heart  " 

applied  himself  to.      "At  tl  uble-knock 

dow  in  the  street  became  alive  with  female 

'. 

< in    the    « 


2  a 

3  o 


Old    Dolls 


By    Mrs.    F.    Nevill    JacKson 


Realism  has  always  been  the  most  striking 
characteristic  of  the  inhabitants  of  the  doll-world. 
It  is  not  given  to  every  child  to  enter  fully  into  the 
joys  of  make-believe — a  fine  imagination  is  a  heaven- 
sent gift — by  its  alchemy,  a  stick  with  a  gourd  or  a 
turnip  for  a  head  may  become  a  much-loved  baby 
doll.  It  is  interesting  to  note  that  in  elementary  dulls, 
which  occur  all  over  the  world,  the  upright  line  and  the 
knob  for  a  head  are  always  there  :  as  a  more  intricate 
anatomy  is  added,  another  stick,  fastened  cross-wise. 
indicates  the  shoulder-line.  This  holds  clothes  and 
pendant  arms  and  movable  legs:  eyes,  nose,  mouth, 
and  hair,  fingers 
and  toes,  com- 
plete the  evo- 
lution of  the 
puppet  in  its  out- 
ward likeness  to 
a  human  form. 

Even  a  sem- 
blance of  speech 
was  attempted 
w hen  in   1824 


tent 


applied   for  in 

Paris  for  mechan- 
ism in  a  doll  by 
means  of  which 
noises. supposed, 
by  1  ourtesy,  to 
be  the  words 
Papa  and  -Mama, 
could  be  made. 
The  apparatus 
was  worked  1>\ 
raising  the  doll's 
right  or  left 
arm.  This  action 
worked  little  bel- 
lows in  its  chest, 
and  the  si  Hinds 
were  emitted. 
Though  a  kind 


ol  phonograph  doll  of  more  recent  invention 

a  larger  vocabulary,  we  have  hitherto  mercifully  been 

spared  a  popular  talking  doll,  and  realism  is  confined 

to  expression  in  shape  and  clot) 

Dolls  now  are  very  much  as  they  were  in  I 

Roman  times,  when  movable  joints  already  delighted 

the  children  :  and  their  clothing  is  certainly  no  more 

elaborate  in  the  present  day  than    ■ 

specimens  we  see  in  11ms.    :  , 

dating  from   the  Renaissance-   period   in   I',. 

or  Spain. 

Perhaps  the   finest   known  riod   is  that 

belonging  to 
a  French  col- 
lector. Standing 
nearly  50  inches 
in  height,  the 
carving 

A-ith   its 

l.lllghili: 

and    \ 
■     ^g^  expression,  indi 

hat  the 

.vM^^  not 

.lain    t< 

their  skill  in  doll- 
making.      This 

teenth  1 

and    is    : 


The    Connoisseur 


DOLL    WITH 


3j  inches 


garments  suited  to  their  age  and  requirements  as 
they  do  now.  They  were  dressed  in  small  editions 
of  the  garments  worn  by  their  elders.  Even 
their  jewels  were  as  sumptuous,  and  their  lace  as 
elaborate,  as  we  may  see  in  the  pictures  of  Holbein, 
Vandyke,  and  other  masters,  who,  with  great 
accuracy  of  detail,  show  the  costume  of  their 
i  hildren  as  well  as  adults.  But  to  return 
to  the  "  poupee  du  temps  des  Yalois"  belonging  to 
Monsieur  d'Almagne,  she  is  dressed  in  white  silk, 
whii  ii  is  almost  completely  covered  with  elaborate 
embroideries  in  orange-coloured  silks.  The  robe  is 
fitting,  as  to  the  bodii  e,  and  in  one  with 
the  skirt,  whirl)  shows  a  suggestion  of  the  boi/ffante 
effect,  which  was  to  culminate  in  the  hoop  ol  later 
limes.  Lines  of  gold-coloured  silk  lace  or  galon 
ornament  the  bodice,  and  divide  the  skirt  in  panels. 
In    the    eyes    of   the    connoisseur   the    make    of    this 

lace  is  sufficient  to  date  the  doll.     The  sleeves  are 

:1)    trimmed  with   it  ;  hanging  uppet    sleeves 

reveal    richly   embroidered    under   ones,    which    are 

further   ornamented   with   silk-embroidered   buttons. 

|  -   of   what  we   should   now   call 
ilour,  togethei   with  the  narrow  purling 

at  the  edge,  is    yellow    with    a  of  this 


remarkable  doll  are  richly  embroidered  on  the  cuffs 
in  tiny  flowers  and  fruits  ;  in  the  centre  of  each  cuft 
is  a  minutely  wrought  medallion  showing  allegorical 
figures.  Hanging  from  one  of  her  wrists  is  a  purse, 
or  aiimontcre,  profusely  decorated  in  silver,  and  on 
her  right  arm  she  bears  a  doll — a  doll's  doll  in  fact, 
which  is  almost  as  elaborately  dressed  as  herself. 
Silver  lace  decorates  the  blue  robe  of  this  smaller 
puppet.  The  iuste-au-corps  has  long  hanging  sleeves, 
with  tight  under-sleeves  of  yellow. 

These  contrasting  sleeves,  with  widely  padded 
shoulder  pieces  or  puffs,  are  noticeable  in  the  doll 
held  by  Lady  Arabella  Stuart  in  the  well-known 
picture.  The  ruff  of  the  period,  with  outstanding 
skirts  at  the  hem,  is  also  shown. 

So  important  was  the  sit  of  the  skirts  in  the  eyes 
of  the  old  doll-dressers,  that  various  devices  are 
resorted  to  in  order  to  gain  the  right  effect ;  the  most 
frequently  used  is  the  slight  cage  of  thin  split  cane  or 
wire.  1  >olls  of  this  period  seldom  have  legs ;  the 
body  is  firmly  fixed  in  the  cage  or  crinoline,  which 
makes  a  capital  stand,  and  spreads  out  the  folds  of 
the  skirt  at  the  same  time.  That  such  figures  were 
real  dolls  and  not  fashion  puppets  is  proved  by  their 
frequent  representation  in  the  hands  of  children  in 
contemporary  art. 

Though  old  dolls  are  always  made  to  dress  and 
undress,  this  want  of  lower  limbs  must  have  proved 


The   ( vnnoisseur 


eminently  unsatisfactory 
in  all  "  putting  to  bed  " 
games,  which  are  so 
delighted  in  by  children. 

All  play  being  based  on 
mimicry,  the  undressing 
and  going  to  bed,  the 
getting  up  and  dressing 
processes,  naturally  bulk 
largely  in  the  games  of 
the  little  ones,  and  it  is 
a  mean  doll-dresser  who, 
to  save  herself  trouble, 
stitches  the  clothes  on  to 
the  body  of  the  doll — she 
deprives  the  owner  of  a 
huge  delight. 

Whether  it  is  because 
time  has  dealt  more 
harshly  with  the  under- 
garments than  with  the 
upper,  or  that  dolls  of  old 
time  were  dressed  like  the 
real  people  with  fewer  and 
less  complicated  lingerie, 
certain  it  is  that  up  to 
the  end  of  the  eighteenth 
century  the  under-garments  of  dolls  are  of  the  most 
sketchy  description,  hoops,  wires,  and  solid  blocks 
of  wood  taking  the  place  of  petticoats  to  make  the 
skirts  stand   out. 

It  is  strange  that  a  child  frequentl)  endows  a 
favourite  doll  with  a  temperament  similar  to  her  own. 
Perhaps  then-  is  a  feeling  oi  pleasant  justification 
when  a  doll  is  punished  for  offences  which  the  little 
mother  herself  has  committed,  or  invents  ingenious 
nursery  crimes  for  the  puppet  which  she  herself 
would  commit,  were  it  not  for  the  surveillance  of 
authorities.  It  is  undoubtedly  to  this  feeling 
th.it  the  tilting  toy  owes  its  popularity;  that  doll  or 
figure  which,  on  account  of  its  carefully  adjusted 
weight,  always  returns  to  the  erect  position.  The 
"going  to  bed  "  game  is  great  Win  with  such  a  toy,  for 
the  doll  is  naughty,  and,  like  its  little  owner,  rebels 
at  being  made  to  lie  down  ;  in  fact,  springs  up  again 
al  on,  e.  and  has  to  be  summarily  punished. 

For  the  origin  of  that  doll  we  must  search  in  China, 

where    it     i     generall)    found    made   of   paper  or   thin 

'ard,    and    painted    to    represent    an    old    man 

.1  fan.      So  fully  does   religion   entei    into   the 

smallest  detail  ol  the  everyday  life  ol  the  Celestials, 

that    it    is    not    surprising    to     find    the    tilling    toy    is 

"  Rise  up,  little  Priest,"  or  "Struck,  not  Falling." 
'1  here  is  a  tradition  that    Buddha  cannot   tall.     This 


JSk 


is  one  of  the  many  toys 
based  on  ecclesiastical 
practice  or  tradition.  In 
Japan  the  doll  weighted 
at  the  base  is  made  to 
represent  the  god  Daruma, 
and  is  always  called  by  his 
name.  We  are  not  aware 
that  this  type  occurs  in 
India  ;  if  it  does,  it  would 
be  interesting  to  learn  to 
whom  its  attributes  were 
assigned  in  that  country, 
where  the  rules  of  a  com- 
plicated religious  ritual 
dictate  the  simplest  action 
of  the  mother  towards 
the  child  from  the  hour 
of  its   birth. 

Amongst  the  dolls 
specially  made  for  young 
children,  the  soft-bodied 
rag-doll  has  always  been 
prime  favourite  —  doubt- 
less sticks  and  stones  were 
-.-  doll  with  articulated  wrapped  in  a  scrap  of  leaf 
'at  17  inches  in  height  or  hide  and  mothered 
by  the  prehistoric  child  ;  but  we  feel  sure  that  the 
baby's  doll  was  always  made  of  suitable  softness, 
for  is  it  not  the  mother's  instinct  to  give  to  her 
little  one  only  what  could  do  him  no  bodily  harm. 
Certainly  three  centuries  before  Christ,  dolls  were 
made  of  woven  linen  stuffed  with  papyrus.  Such  a 
doll,  measuring  3.I  inches  from  crown  to  toe,  was 
found  at  Behnesch  during  the  excavations  in  1896. 
The  body  is  well  shaped,  though  rather  long  ;  the 
neck  not  well  defined  :  but  the  head  is  excellent,  with 
handsome  embroidered  features,  well  calculated  to 
withstand  hard  wear.  The  hair  is  indicated  by  threads 
of  linen.  Round  the  waist  of  this  extraordinary  relic, 
made  twenty-three  centuries  ago,  there  is  a  neatly 
fitting  band  of  red  woollen  stuff,  surely  the  earliest 
known  example  of  doll-dressing.  It  is,  of  course, 
owing  to  the  fait  that  the  toys  of  children  were  buried 
with  them  that  this  Egypto-Roman  rag-doll  has  been 
preserved.  With  the  Greeks  and  Romans  also  this 
practice  prevailed,  ami  it  is  interesting  to  note  that 
though  with  the  introduction  of  Christianity  the  old 
pagan  belief  in  the  utility  of  such  things  to  the  dead 
naturally  passed  away,  yet  so  difficult  is  it  to  throw 
off  old  customs,  and  so  conservative  are  people  in  all 
matters  deeply  affecting  them,  that  the  practice  of 
burying  toys  with  the  children  was  long  continued 
after  its  meaning  had  ceased  to  he  an  article  of  belief. 


The   Connoisseur 


A    Little    China   Village  By   Gertrude    Crowe 


Most  collectors  have,  I  suppo 
"line"  or  hobby,  but  not  many  appear  to  have  mad. 
old  English  china  cottages  their  particular  cult. 

These  are  somewhat  quaint  reminders  of  anothei 
generation  —  when  it 
was  considered  a  sign 
of  gentility  to  faint  and 
"languish,"  and  spices 
and  pastilles  were 
accordingly  m  o  r e 
favoured  in  the  drawing- 
rooms  of  that  day  than 
the  open  w  i  n  d  o  w  s  of 
our  present  era. 
Equally,  t her. ifore,  it 
was  necessary  to  have 
Pastille-Burners  for  the 
use  of  such,  and  thus  thes. 
raison  d'etre  I 

The  better  ones  were  made  at  the  Rockingham 
works  in  Yorkshire,  which  existed  from  about  1745 
to  1842,  and  these  were  modelled  in  a  line  bone-ash 
paste,  and  quite  dis- 
tinct in  quality  from 
the  later  ones,  which 
the  Staffordshire 
potters  began  imitat- 
ing at  their  different 
factories  about  the 
year  1830. 

Some     Pastille- 


"11V,I     s 


little  cottages  had  their 


I'I'IV      .ll-o 


made    at     Leed8>    'md  BALMORA1      •    ,.u 

some — still  fewer — at 

Bow  and  Chelsea.  The  latter  ones  (like  the  best 
Rockingham  cottages)  wen'  generally  of  a  delicate- 
white  outlined  in  gold,  and  with  beautifull)  modelled 
flowers  and  foliage  scrambling  over  the  roofs  and 
walls    in   a    riot   of  brilliant   colours,   while   tin 


"front  gardens"  have  their  flowery   "plots"  to  cor- 
respond, - etimes  with  the  addition  0 

kennel,  01   in  the  case  of  othei       1 
in  my  collection     a  cosy  fai  m  hou  ;e  n  ith  "d 
kine 

fully       ch e  w  ing  the 
placid    cud   of  pastoral 
repose    beside  th 
1 

1 

of  the 

kind  (in   u 

I  ked  up 

(far  from  its  original 
birthplace)     on     the 

■•  bog-deal  "   1 
.1  smoke-dimmi  .1   [ri  h  1  .bin.  where  it   h  u 
found  its  way  from 
and  doubl  I 
year,"  with  all  the  attendant  honors,  still  whispered 

peasantry   to   the    present   date 
with   bated   breath. 
Pastille- 
re  those 
modelled   after    such 
famous   buildings  as 

at   Stratford-on-Avon 

(of    which    1    own    a 
beautiful    1    : 
Ann      Ha 

old-world   ■    n 

Rosemar)  for  remembram  e  .  .  .  and  .  .  . 
.  .  for  thou  ;hts.'      I    I    ■. 

( Castle,  the  name  inscribed 


ol   amonsrst    th 


\KK  \<  KS,      ETC 


with  it 
such  as 
Pansies 

0    Balmoi 


■  old  letters  ;  but  I  mu  ;l  ■ 


mm 


■ 


The    Connoisseur 


:h  %» 


:\ 


#1 


liKOUl'     Ol-     THREE     1'  \sril  I  E-BURNERS    AND 


COTTAGE 


hear  much  likeness  to  the  aforesaid   Royal  residenc 
and,    in    design    at    all    events,    far    more     resembl 
the  adjacent  ancient   keep  of 
Abergeldie    than    "the    King's 
own  "  Scottish  home. 

Many  of  the  Staffordshire 
Pastille-Burners  were  decorated 
in  blue  and  white  after  1  )elft  style, 
and  are  heavier  and  coarser  in 
texture  than  their  daintier  and 
older  rivals,  while  (for  more 
homely  use.  and  for  those  whose 
pretensions  did  not  aspire  to  the 
burning  of  pastilles)  one  finds 
the  little  "savings  banks''  or 
receptacles  for  night-light 
shelters,  but  which  are  (naturally) 
devoid  of  the  early  charm  of  the 
g  mtler  specimens. 

I  must  not  omit  mention  of  two 
barracks,  almost  the  same  in  colouring,  and  about 
seven  niches  in  height,  each  being  guarded  by  a 
sentinel  in  scarlet   uniform  of  the  Wellington   period. 


These   a 
mill-whe 


TWO-STORIED 


tinctly    unique,   as    is   also  a   mill  and 
h   rock-bound   mountain  stream  and  a 
two-storied  cottage,  with  lichen- 
covered  thatch  and  creeper-clad 
walls — a    huge    house-dog    lying 
"on  watch"  at  the  front  door. 
Though    chiefly    depicted    in 
summer  time  with  gaily  coloured 
bloom   and   blossom,  sometimes 
(though     rarely)    one    comes 
across  a   china  cottage    covered 
in    snow,    with    the    frost    and 
rime,   robins,   holly,    and    mistle- 
toe   of    a   wintry  and    Christmas 
period.       Very  few  are   marked, 
but  some  are  known  to  bear  the 
marks   of    Spode    or   Walton, 
while    the  average  height  is 
from  three    to    five   inches,    and 
upwards.      Rockingham  ware, 
however,    was    said    to    be    seldom    marked,   and   of 
this  (as  I   have  stated)  the  better  and  earlier  cottages 
were  chiefly  composed. 


'. 


GROUP     OF     PASTIEI  E-BURNERS 


- 


»S     ,J%    • 


VO     BLl    l       AND     WHITE      DELFT     COTTAGES,     A     BARRACKS,      ETC. 


-  ;" 


m 


IAt\tiqueJeve/J 


Notes  on  Two  "Lesser  George"  of  the  Order  of  the  Garter  in 
the  possession  of  His  Grace  the  DuKe  of  Beaufort  By  Guy- 
Francis  Laking,  M.V.O.,  F.S.A.,  Keeper  of  the  King's  Armoury 


The  "Lesser  George"  of  the  Garter — the 
pendant  formerly  worn  by  a  ribband  around  the  neck, 
but  at  a  later  date  more  often  attached  to  a  ribband 
or  scarf,  and  worn  across  the  left  shoulder — must  not 
be  confused  with  the  "Great  George"  of  the  same 
Order,  which  is  a  model  figure  of  St.  George  slaving 


the    dragon    worn    Suspended    from    th 
of  the  on 

the    "Li       r  Geot  oi     ra 

pendants  of  the  Ga 

Visiting   Badminton  sorrn     no  .  the  writer 

had  tb    opp  ■ 


The   Connoisseur 


under  the  able  guidance  of  the  I  luchess  of  Beaufort. 
The  intimate  knowledge  and  deep  interest  taken  by 
Her  Grace  in  all  appertaining  to  the  family  lent  an 
especial  charm  to  the  inspection.  There  were  many 
treasures  in  that  line  house  that  owe  much  to  their 
sentimental  interest.  These  historical  and  family 
associations  were  admirably  described  by  Her  Grace. 
Unfortunately,    as    is    often    the    case,    accuracy    of 


making  the  history  of  the    Rupert  jewel  more  than 
doubly  possible  and  probable. 

Continuing  the  inspection  of  the  Badminton  treasures, 
an  old-world  cabinet  arranged  so  as  to  form  a  show- 
case was  arrived  at.  In  it  were  many  small  treasures 
of  varying  interest,  fragmentary,  and  in  some  instances 
relics  of  the  child-like  collections  of  the  youthful 
Somersets  of  earlier  generations.     Hut  it  was  among 


archaeological  detail  at  times  upsets  the  most  cherished 

of  family  traditions,  and,  alas!  Mich  a   check   came 

vitrine   containing    various    badges   of    the 

Order   of  the    Gartei    was    inspected.      Among   other 

<  larter  jewels  the  writer  was  shown  a  "  Lesser  ( leorge  " 

'    i  d    as    having    been   worn   by   Prince   Rupert. 

and  givi  n    bj    him  to   Edward,   se<  ond    Marquess   ol 

i.      1  lowever,   as  the  gold   enamelled   jewel 

itself  could  not,  from  its  style  and  manufacture,  have 

>ldei    than    the    first    years  of  the   ninet  enth 

its    assoi  latum    with     Prince     Ruperl     was 

diffii  nil  to  bell-  •.        I  :     1  m  he     "i  Beauforl  ai  cepted 

I   the   Rupert  Carter   jewel  with  fortitude. 

however,  did  Her  <  Irai  e  or  the  writei  think  that 
this  shattered  family  idol  would  almost  immediate!) 
be  reinstated  le  reat  importance, 


this   heterogeneous  collection    that   we   came   across 
our  treasure. 

Hanging  on  a  bent  pin,  in  the  corner  of  the 
cupboard,  by  a  piece  of  faded  red  ribband,  was  a 
small  oval  enamelled  plaque  pierced  and  modelled 
a  jour  with  the  representation  of  St.  George  and 
the  Dragon.  It  was  a  charming  example  of  early 
seventeenth  century  English  enamelling.  The  writer 
pointed  it  out  to  ller  Grace  as  the  centre  of  a  darter 
badge  of  very  considerable  importance,  expressing  at 
the  same  time  great  regret  that  the  setting  with  the 
famous  HON!  -on  iii  i  \i\i  \  PENS!  motto  was 
missing.  Hardly  had  the  regret  been  expressed  than 
the  line  gold  enamelled  mount  came  to  light,  laying 
partly  hidden  beneath  a  quantity  of  small  objects. 
The   two    pieces   were    placed    together  ;    they  fitted 


Two  "Lesser  George'1  of  the  Order  of  the  Garter 


accurately,  with  the  result  thai  i  orge  "  of 

the  Order  of  the  Garter  of  early  date  and  of  greatest 
importance  lay  before  us. 

However,  there  are  spots  on  the  sun — and  our  find 
lacked  something,  for  the  frame  of  the  jewel  had 
been  despoiled  of  the  large  precious  stone 
which  it  was  formerly  surrounded.  These  were  doubt- 
less rose  diamonds,  and  which,  for  their  intrinsic 
value,  had  at  some  time  been  picked  out,  as  in  the 


I 
characteristic  of  the  time,  lor  beyond  the  mitre  that 
holds    the    stone    in    position,    additional    cut    card 

escallop  woi 11  dim  nsions,  also  in  the  silver, 

encircles    each    stone.       The    reverse     side    of    this 

irge"    is    especially    beautiful,    as   the 

mation     of     Si.    Ceorgc    and    the    Dragon    is 

ertainly  earlier  in  style  than  the  actual  period  of  its 

be   taken   lor  a 


Charles  I.  "  Lesser  George"  in  the  Ro 
at  Windsor  Castle.     Once  more  the  shatter  d 
tradition    could    be    pieced    together     here   « 
Garter  jewel  of   Prince   Rupert— at  least   it    « 
tainly  of  his   time,  and   might   have  been   hi 
such  attributions  are  possible  when  the  obj. 
the  period  of  the    person  to  whom  il   is  ao 
But  to   return  to   the   newl)  d 
frame  is  of  Lighl   coloured  gold,  the  front    fa* 
taining  the  setting  for  twelve  large  stones,  I" 
additional  pear-shaped    tone   al    the  ba 
the    space   which    on   the    reverse    is    tl 
Garter  strap.      The  suspending  loop  abi 
set    with  two    large  stones.       The  - 
the  front   face    a  Id   an 

St.  George,    such     I      i     Still    present  on  tl 


ol  the  third  quarter 

ofthesixti    i  i 

in    opaque    win: 

re  in  natural  trai 
gold,  with 

1 
,-i 

1 


The   Connoisseur 


the  front  face.  These  escallops  are  enamelled  opaque 
white  —  the  one  immediately  below  the  loop  for 
suspension  being  of  larger  dimensions  than  the  others, 
and  additionally  shaded  in  colours  to  represent  an 
acanthus  leaf,  the  remainder  being  painted  with 
delicate  tendril  scrollwork. 

This  type  of  enamelling,  a   white  ground  enriched 


richness  and  dimensions  than  the  first,  but  like  it, 
of  English  workmanship,  and  of  the  same  period; 
indeed,  in  all  probability  by  the  same  hand. 

Although  a  most  careful  search  was  made,  its 
centre  medallion  was,  unfortunately,  not  to  be  found. 
However,  as  a  fragment  of  a  Garter  jewel,  it  had  even 
greater  interest  than  the  first  discovered,  inasmuch 
as  it  was  more  robust  in  proportion,  the  enamelling 


No.    Y.    (b).-e> 


III  I  III    FACl 


ol    its   lime— the    French    Louis   XIII.— and 
ly   eliminates  any   chance  oi    the    jewel  being 
ol  an  earliei  date. 

The  empty  settings  of  this  jewel  have  now  been 
skilfully  filled  with  while  sapphires  cut  in  the  old 
rose  manner,  so  as  to  accurately  In  and  be  in 
charactei  with  the  jewel  the)  adorn.  Instead  of  the 
missing  cami  o  has  been  placed  a  plain  plaque  ol 
onyx  with  a  simply  i  hamfi  red 

3o  hum  h  loi   the  first  disi  overy  ;  but  n.m   foi   th 

Before  finallj  <  lo  ing  the  cupboard  in  which 

nil   this  disintegrate  d   I  iarti  i    ji  wel,  a  further 

-    d       vhen   behold,   beneath   anothei 

at  ■  umulation    ol    obji  -  I  i    the    second    frame    ol     a 

'"     '    lav    hidden.        It    was   oi    greater 


more  brilliant,  and,  above  all,  it  contained  foui  ol 
the  original  stone's  with  which  it  was  set.  These 
proved  to  be  of  two  sorts,  rubles  anil  diamonds 
placed  alternately  around  the  front  lace.  Although 
•lie  actual  si/,-  o|  the  jewel  was  about  the  same,  the 
precious  stonei  were  ol  larger  proportions.   Theywere 

origin.ilK    ten    in    number,   oval    in    shape,   and    cut    in 

table  fashion. 

The  frame  is  executi  d  in  pale  gold,  the  chamfered 

letting  to  the  rubies  being  in  that  metal,  whilst  the 
settings  of  the  diamonds  are  in  silver.      between  each 

ion.  is  a  sin. HI  decorated  gold  bow.  These  bow  . 
on  the  enamelled  or  underface  of  the  jewel,  show- 
as  a  series  of  small  oval  pierced  panels  placed  I'-  tw  n 
the  escallops  ol  the  border.      The  suspending  loop 


Two  "Lesser  George"  of  the  Order  of  the  Garter 


contained   a    single    ruby.       Three    rubies    aw 

diamond   remained.     On   the   resetting  of  tl 

it  was  found  that  the  rubies  proved  to  be  what  are 

termed    "doublets,"   that    is,  .1    crystal    stone   backed 

with  crimson  foil,  laced  with  a  thin  stratum 

ruby,  and  set  together  in  the  conventional   n 

In  place  of  the  missing  diamonds  were  reset 

but  the  rubies  were  added  in  true  "  double!  1 

enamelled  face  of  the  jewel  shows  the  Garter  motto 

somewhat    more   thickly  lettered    than    iti  thi 

"  Lesser  George."    The  translucent  enamelled 

is  also  of  a  more  peacock  shade  of  blue.      Th 

and   buckle   to   the   darter  are  simply  rendered.      .\s 

already    stated    the    escallops   round    the    bordei    are 

fewer,   but  of  larger  proportions,  with  a  hollow    oval 

between  each.     Each  escallop  is  enamelled  white  and 

shaded  in  polychrome  to  represent  a  trepartite   leaf. 

As  no  centre  could  be  found  to  this  jewel,  a 

onyx  cameo  was  cut  with  the  figures  of  St.  George 

and  the  Dragon  to  occupy  the  empty  space   in  the 

front  face  of  the  frame.     The  modern  cameo  is  nol 

entirely  satisfactory,   but   it  is  the   best   that  cou 

produced.     The  plain  onyx  back  of  th 

on  the  reverse  side  of  the  ji  wel. 

To  whom  the  second  ( iarter  jewel  formerly  1 1    1 
it  is  impossible  to  say — perhaps  this  and  not  the  first 
specimen  described  may  have  been  the  Rupert  Garl   t 
badge — but  that  must  remain  unwritten  histor) 
Duchess  of   Beaufort   makes    the   suggestion  that  as 
the  first    Lord  Glamorgan  was  given  \\v    1,. 
Charles    I.    in     his    father's    lifetime,    as    well    as   his 
peerage,    one   of    these    two    "  Lessei     Geo 
have   been   worn   by   him. 

That    these    two   line  examples   o!    English   seven- 
teenth century  goldsmith's   work   should   h,:\      been 


cast   aside   antOI 

1  -ooiled  of  th. 
ably  in   ; 

o-day 

orthless.   theii 

mall   articles  among  which  tl. 
of  these  two  jewels  were   found  were  collected   many 
years   a.  n:    Duchess   01     . 

the  many  old  store  cupboards  at    Badminton. 

importance  were  found   with 

I  -  uter  jewels,  but  space  will  not  permit  of  their 

The  descriptions  of  the  illustrations  are  as  follows  : 

Xo.   i.,   the   gold    and    enamelled    relief  forming   the 

centre    of  the   first   "1.-        1    G 

first    find.      No.   ii..   a  and   />,   the    frame   of  thi 

ion.     This  was  tl  ows  its 

c  with  the  stones  extracted  ;  /'.  it-  en 
face   with  the   Garter  motto.     No.  hi.,  a  and  /•,  the 
jewel    after    its    restoration  :    a,    shows    its    front    set 
with    white    sapphires  and   with  a  plain  agate  back  ; 
/.,    its   enamelled    face  with  I 
enamelled     medallion     placed     back     in    1 
No    i"-..  a  and   i    shov     I       Fi 
second  "Li  Geoi  This  was  the   third  find. 

a,  its  tu.n;    I  stones  in 

position  :  /'.  its  enamelled  face  with  the  Carter  motto. 
. 
its   front    face  with 
also    the    modern    cameo    in 
face  with  the  Carter  motto    11 


The   Connoisseur 


Some    French    Pastellists 


By    C.  Lewis   Hind 


Sometimes  at  an  auction  sale  I  have  seen 
small  pastels,  properly  framed,  properly  discoloured, 
of  bright,  gay  faces  that  seem  to  have  the  secret  of 
perpetual  fragrance  and  freshness  ;  sometimes  one  of 
them  has  been  called  Madame  de  Pompadour,  another 
Madame  Favart,  and  in  the  catalogue  the  ascription 
has  run  :   "  By  or  attributed  to  La  Tour." 

Somebody  has  bought  these  charming  things.  I 
have  not,  being  wary,  perhaps  bitterly  over-wary  ;  and 
now  that  I  have  looked  through  and  lingered  over 
the  reproductions  of  the  pastels  by  La  Tour  and 
all  the  others  in  this  book,  I  do  not  regret  my 
caution  —  the  reproductions  are  so  near  to  the 
originals.  Of  all  the  pitfalls  that  yawn  before  the 
enthusiastic  but  unlearned  amateur,  the  excellence  of 
the  modern  facsimile  colour  reproductions  is  one  of 
the  commonest.  It  would  be  so  easy  for  a  dishonest 
dealer  to  frame  properly  any  in  this  volume,  to 
discolour  them  properly,  to  scatter  the  lovely  things 
about  the  world,  and  to  label  them — by  or  attributed 
to  Rosalba  Carriera,  La  Tour,  Chardin,  Boucher, 
Perronneau,  or  Drouais.  One  is  almost  inclined  to 
remove  the  La  Tours  from  the  pages  to  which  they 
are  affixed,  and  to  take  them  for  comparison  and 
education  to  that  shrine  of  the  pastel.  Saint  Quentin, 
in  northern  France,  where  "  La  Tour's  sketches 
hang  upon  the  walls  to  give  a  hint  of  the  man's 
splendid  achievement." 

What  a  splendid  achievement  it  was — within  its 
limits  perfect  '  La  Tour  is  the  name  that  rises  to 
the  lips  at  the  mention  of  the  French  pastellists  of 
the  eighteenth  century.  He  was  the  sun  around 
which  the  others  revolved,  and  when  he  died  in 
17.S.S,  with  him,  "with  this  Maurice  Quentin  de  la 
Tour  passed  away  the  pastel  of  the  great  age  in 
1  lci  '  Others  came  afterwards,  that  is,  after  the 
cataclysm  of  the  Revolution  which  La  Tour  (he  was 
mad  in  his  latter  years)  just  escaped.  There  was 
Prud'hon  for  example,  and  to-day  the  pastellists  are 

;ion  bul  France  lias  only  one  l.a  Tour.  He  is 
1  >  outstanding,  .is  significant  as  Turner  in  water- 
colour. 

I  hal  I .  i  Tour  stands  alone,  unrivalled,  is  self- 
videnl  from  the  reproduction  -  in  tin-,  book,  and 
Mr.  I  [aldane  Macfall  m  1  ol  the  idolatry 

he  I11  ■  for  I  >iderot's  Magician.  I  envy  the  enjoyment 
-  .1I1  inn  ,1  have  had  in  compo  ting  the  text.  It 
was  a  subj.-ct  entirely  to  his  taste,  and  his  enthusiasm 


Ei 

ane  Macfall,  with  fifty-two  illustration  .     1  Ma 


carries  him  forward  breathlessly  from  the  first  page  to 
the  last.  He  runs,  he  leaps,  he  dances,  he  twists, 
he  turns,  he  smiles.  The  sparkle  of  the  period  has 
captured  him  :  he  does  everything  except  write  plain, 
bald  prose.  It  is  very  captivating  for  a  time,  a  long 
time,  and  the  short  chapters  that  jump  from  subject 
to  subject,  like  a  bird  hopping  from  twig  to  twig,  are 
no  doubt  in  keeping  with  the  tripping  art  of  the 
pastellists.  Mr.  Macfall's  pen  ranges  beyond  his 
theme  :  in  effect  his  book  is  an  interpretation  of  the 
social  and  art  history  of  France  from  1700,  "the 
setting  of  King  Sun  " — which  is  the  Macfallian  way  of 
describing  the  last  years  of  Louis  the  Fourteenth — 
to  that  awful  engulfment  of  art  and  all  else  in  the 
Revolution,  when  "the  reputation  of  La  Tour  went 
down  in  the  great  flood,  together  with  those  of 
Boucher  and  Fragonard,  Chardin  and  Greuze,  and 
tin-  rest  of  the  goodly  company." 

"  Thereafter  a  vast  silence."  In  181 1  twenty-five 
ol  l.a  Tour's  sketches  were  sold,  with  forty  drawings 
by  La  Rue,  in  one  lot  at  auction  ;  in  1S26  his  portrait 
ot  Crcbil/on  pert  was  knocked  down  for  thirty  francs, 
and  as  late  as  1  <S 7 3  the  two  sketches  for  Silvestre 
and  Dumont  le  Romain  brought  no  more  than  three 
hundred  francs.  To-day— well  try  to  buy  a  pastel  by 
La  Tour  at  the  Hotel  Drouot — and  now  there  is  this 
book,  to  the  honour  and  glory  of  La  Tour  and  his 
fellow  pastellists,  so  fascinating,  so  new,  so  different 
from  the  ordinary  colour-book.  One  wonders  why 
the  subject  was  never  treated  before. 

How  did  the  pastel  come  to  France?  Mr.  Macfall, 
in  his  picturesque  way.  makes  that  quite  clear.  It 
rame  in  the  satchel  of  that  Venetian  lady,  Rosalba 
Carriera,  the  brilliant  and  popular  Rosalba,  admired 
by  collectors  and  amateurs,  who  arrived  in  Paris  in 
1  -20,  when  La  Tour  was  sixteen  years  of  age,  bringing 
with  her  "  in  a  satchel  sundry  coloured  chalks,  which 
were  soon  to  be  known  throughout  all  France  as 
'pastels.'"  Rosalba,  although  she  stayed  but  a  year 
in  Tans,  her. Hue  the  vogue,  and  pastels  the  rage. 
From  Court  to  Court  she  travelled,  and  everybody 
who  was  anybody  had  to  be  pastelled  by  Rosalba. 
1  II  course  she  was  not  the  first  by  any  means  to  work 
in  coloured  chalks.  'The  names  of  Holbein,  Largilliere 
and  Watteau  al  one-  occur,  but  she  made  tli''  pastel 
portrait  the  fashion,  ami  turned  the  eyes  Ol  the  young 
I, a  'Tour,  the  young  Toucher,  and  the  young  Perron- 
neau towards  it.     Very  alluring,  very  attractive  must 

the  pastels   ol     Rosalba  have  seemed   to  light-hearted, 

sedan-chair  Paris  in  those  early  years  ol  the  reign  ol 
Louis  the  Fifteenth.      Tut   hei  Girl  with  the  Monkey, 


STUDV   OF   A   HEAD 

BY    FRANCOIS    BOUCHER 

From   ■•  French   Pastcll'ists  oj  the   IStli  Centur 

Published  by  Messrs.   MacmUUm  i 


Some   French   Pastellists 


reproduced   in  this  volume,  is  little    more  than  [ 
with  no  hint  of  the  incisiveness    iro     the  deep  know- 
ledge underlying  the  charm  of  presentation  that  was 
to  make  the  pastel,  in  the  hands  ol  La  Tour,  so  fitting, 

so  final  a  vehicle  for  the  expression  of  his  tempi 

Surely  in  the  history  of  art  rarely  has  a  man 
his  metier  so  completely  as  did  La  Tour  in  tin 
heads  and  busts  he  produced,  not  easily,  one  might 
almost  say  with  agony.  When  he  essayed  a  full- 
length  figure,  as  in  his  famous  pastel  of  La  Pompadour. 
l\  ft.  high  by  4  ft.  wide,  the  interest  becomes 
scattered,  and  although  there  is  no  fault  to  be  found 
with  the  drawing,  we  miss  the  vivid  and  direel 
characterisation  of  his  less  pretentious  work.  The 
delicacy  of  his  'Pic  Penchee,  the  strength  of  his 
Chardin,  the  gamin-like  knowingness  of  his  Madame 
Favart,  the  sweetness-out-of-strength  that  marks  his 
Mademoiselle  Puvigny  and  La  Camargo,  the  brilliant 
forcefulness  of  The  Dauphin — these  are  essential 
La  Tour  far  beyond  anything  that  Rosalba  or  am 
of  his  contemporaries,  except,  perhaps,  Chardin, 
could  have  done.  One  may  be  inclined  to  call  these 
heads  slight  :  but  as  much  effort,  sincerity,  and  con- 
centration went  to  the  making  of  them  as  to  man} 
of  the  world's  great  portraits.  Slight  as  La  Tour's 
heads  may  seem,  they  were  produced  in  no  slight 
mood  :  they  represent  real,  downright  work,  not 
interludes  in  a  working  day.  Maneite,  the  art  col- 
lector, has  left  on  record  the  seventy  of  La  Tour's 
self-criticism,  and  his  discontent  with  his  efforts.  He 
destroyed  much;  he  tormented  himself  about  the 
quality  of  his  craftsmanship;  and  he  tormented  his 
sitters  with  his  moods.  He  was  restless,  nervous, 
irritated,  discontented  with  his  achieve,,,-  nt 
eager  for  praise;  and  he  hated  criticism— and  out 
of  all  this,  this  volcano  of  disquietude,  can 
lovely  things-heads  so  slight  and  fragile  that  it 
seeim  almost  as  if  a  breath  will  blow  them  a« 
spirituel  faces,  ton,  bed  in,  as  Reinach  says 
colours  like  the  dust  on  tin 
Such  a  head  is  that  of  Mademoiselle  Fel,  "a  little 
young  woman,  not  at  all  pretty,"  as  I 
in  the  report  of  the  inspector  of  police. 

This  singer,  about  whom  men  went  mad,  who  was 


of    bull 


La  Toui  ompanion,   loving    a 

lives   today,   charming  and  enigmatic 
pastel  i  n.      I    turn   from   hei    I 

pien  me    "  alism   i  I  lire,   the   first 

La  Tour  that  -  id  published, 

and  then  back  to  the  "  seductive  Fel,"  the  kind  and 
faithful  Fel,  who  humo  n   da  <   in  his 

brilliant  days,  and  wat<  hed  i 
in  the  dai 
Fel,  are  too   poignantly  aliv,    to  be  companio 

brained    together    they    would    give   to    the    room   in 

which  they  hung  the  air  of  being  haunted.  The  vision 
of  Mam  ice  Quentin  de  la  Tour  was  so  intense  that 
he  becomes  almost  a 

It  is  o  the  1  nlliant 

but  unequal  Perronneau,  whos 
Hundred    Portraits  ot    Women"  exhibition   in   Paris 
last    spring   proclaimed   him   a    nee'   r.     Hei 
with  an  ineffably  pretty    pan  of  ia  blue 

dress,  each  nursing  a  cat      im  Bo 

was   all   things   to  all    men.    with   a    S        ■ 
elegant,     charming,     superficial,    th      aco 
Boucher,  who  has  survived  the  stinging  cril 
Grimm  ;    and  here  are  all   the   others,   the  a 

portrait  ol    Chardin    by   himself.       His  past 

aside;    he  did  not  mind  tie       I        i  "mt.  which 

nauseated  La  Tour. 

La    lour  !      It  was    inevitable   thi  t   I 

to  him,  to  th    la  o  ■   " 

sad  re.n  ' 

In  his  dei  line,  before  hi  ray,  he  was 

tortured    by   the   desire    to   find   a    means  to  make 
pastel    i"  rmanent.     He   exp  trin 
laboured,   "  onlj  to  di     ro 

th  ■  most   exquisite  work  ol   hi  Hie  secret  v 

discovi  I-  d,  but   not  by  him.     In  tl 
turned  ■■■"•  °'  !  lthl  :  ,;     ;"  ,ver  of  his 

art  left   him  :  he  had  visio  »'orld  I 

like    Turner     lie     planned     ch 

tr0v,     to  di  ■  ntangli    his  ideas  about 

i,  ot  Voltaii 

But  all  this  is  out 


N©TESA,,,PQU£RI^ 


[The  Editor  invites  the  assistance  of  readers  oj 
Iim  Connoisseur  Magazine  who  may  be  able  to 
impart  the  information  required  by   Correspondents.} 

Portrait  Group  signed  Hen.  JV. 
;    Dear  Sir,— I    enclose   a   photograph  of  one  of  the 
pictures  at  The  Great   House,  North   Nibley,  Dursley, 
Gloucestershire.       It    is    of   Baptist    Noel,    4th    Earl    of 


Passing  on  left  ot  picture,  foreground,  a  young  lady 
running  away  with  hands  raised  in  alarm  ;  behind  her 
another  lady  starting  back  terrified  ;  a  basket  of  violets 
on  the  ground,  and  close  to  it  a  large  snake.  Middle 
distance,  a  large  mansion  surrounded  by  a  river,  in 
which  is  an  island  with  a  summer-house ;  a  bridge 
over  the  river.  Far  distance,  a  river  sparkling  in  the 
sun,  with  a  mountain  :   the  whole  full  of  sunshine. 


Gainsborough,  the  Countess  ol  Gainsborough,  and  the 


the  left- 
,-.  and  a 
Can  any 


ladies  Elizabeth,  Jane,  and  Juliana  Noel.  Ii 
hand  bottom  corner  is  a  signature  Hen.  _ 
surname  I  cannot  decipher,  with  the  date  1737. 
ol  your  readers  identify  the  artist? 

Yours  faithfully, 

\V.   F.    X 


LOI  All  IN     'i!      \     1'ICl  URE. 

Sir,     Can  anyone  tell  me  where  the  following  picture 
is?— Foreground,  right  <>!  picture,  watei    falling   from  a 

pipe  mi ulai  basin  ;  underneath  large  tier. 

..,':    woman    sitting,    he    with    his   arm    round   her 
rig  up  a   warning  finger;  above,  an  ale- 
house, with  .1   girl     tnd  a   fat   woman  pouring 

wine   into  a   glass,  man  on    a    white   horse   ■     coa 


About  thirty  years  ago  I  saw  a  print  01  this  picture, 
,,n.l  the  man  writing  about  it  said  it  was  by  Rubens— 
or  was  it  Rembrandt?— and  said  he  could  make  nothing 
of  the  whole  thing.  I  think  it  is  very  easy;  it  is  a 
lesson  u>  lly  from  temptation.  I  got  an  old  picture 
so  black  with  smoke  I  could  make  nothing  of  it,  so 
when  I  was  unwell  1  amused  myself  by  rubbing  off 
the  varnish,  and  was  astonished  by  the  result.  It  is, 
ot  course,  a   copy. 

I  am,  yours  faithfully, 

I'm  is.   P.  TuCKEY. 

Hi;  'WINGS    BY    PAUL    SANDBY. 

Dear    Sir,     1    should   be  glad  to   know  whether 

any    readers     have     Mime    across    for    sale    the    original 
drawings,  bv  Paul  Sandby,  of  Warwick  Castle,  of  which 


246 


Notes   and   Qnerie. 


CHRIST      FEED1! 


there  are  four  or 
five  prints  from 
which    the   prints 
must    have    been 
done. 
I  am,  Sir,  faith- 
fully yours, 
Sidney  Gre- 


i'mi'i  ntified 
Country 
Hoi  -i 
1  )i  \i:  Sir,  A 
friend  visiting  my 
house  a  feu*  days 
ago,  on  procuring 
The  Connois- 
seur Magazine 
of  July,  1909,  ob- 
served therein  an 
illustration  of  a 
country  mansion  and  the  letter  of  E.  G.  Leggatt  to  you. 
The  observer  recognised  the  illustration  as  that  from 
a  large  oil-painting  seen  some  few  days  previously  at 
■the  residence  of  a  lady  whose  husband,  since  deceased, 
resided.  The  painting  represents 
"  Marchwick  Hall." 

If  this,  my  note,  is  sufficiently 
interesting  to  vour  correspondent, 
I  can  get,  perhaps,  some  informa- 
tion as  to  the  location  of  the  man- 
sion if  he  will  write  me. 

Yours  faithfully, 

H.   TUTHI1  1.. 

I'MDKMii  11  i>  Portrait  of 

Lady. 

(Dr.  T.  YV.  Shepherd. 

1  )  1    \  1:   Si  R,—  The   pose  and 

general  treatment  of  thi 

(lady     suggests  to  me  the  work  of 

Adrian   1  laneinann,  who,  like  Peter 

Lely,    painted    for    a    g 1    many 

years  in  England,  and  who,  like 
Lely,  was  under  the  direct  in- 
fluence of  Van  Dyck's  style.  It 
will  be  a  difficult  task  to  identify 
the  portrait.  I  think  his  work  is 
scarce,  and,  unless  my  memory  is 
at  fault,  I  have  seen  a  few  of  them  only  in  tin 
Brunswii  k     all  unidentified. 

Lily,    E.   Si  1 

..  cHR]  .1     f  i  1  DING    nil     M 
••The    \\ 

■indly    help    me    I 

la,. 


r  thirty 

brother,  n 
it   about 

e  a  is  be- 

.  and  he 

purchased  it  from 

a  capta 

trailing   vessel, 

nght  it 

iples.      It 

was  then  in  a  torn 

condition,  and   in 

a     very     p  1  a  i  n 

broken  fra 

■  picture- 
cleaner. 

it    was     of    the 
eenth   cen- 
tury.      He  put  it 

1  UDE 

1  n  r  e  p  a 

now  is,  but  would   not    touch  the  centre  or  figun 
the  colours  are   not  available   at    the    present  day.       1 
am   thinking  it  may  be  by  sonic   old    Italian  painter,  so 
would   like  to  know  who,  and   its   value. 

Tin-  smaller  picture,  -abject  The 

Monty-.',  ft,  1    ft.  7  in. 

by  1  tt.  1  m.,  1  bo 

hand  -hop.  and  would  like  to  know 

the  .11 11  -I  ,0 

Yours  truly, 

M.  V.  Stephens. 

Antique  Sword. 
Dear  : 

■ 
Mr.  Hei  berl   1 

.1  may 
say  that  I  think  it  very  unlikely 
that  he  «  1  in  any- 

bei    of  ibout    the 

middle  of  tl 

•  1  a  it    of    King 
Charles  Land 

basket-h 

in    memory 


Portrait  of 
a   Gosshawk 


This  portrait  of  a  Gosshawk  is  taken  from  an  oil 

painting  on  a  panel  of  stout  mahogany,  measuring 
21  in.  by  17  in.  An  inscription  on 
the  top  left  hand  corner  reads  :  "  Falco 
Palumbarius  :  Linnaeus.  This  'Goss- 
hawk' Came  From  ( iermany  in  [857,  When  he  Became 

The  Property  of  Sir  Charles  Domvile,  and  Was  Trained 

to    Fly    at    Hares,    Rabbits    &    Pheasants    by    Capt. 

Salvin:   He  Dislocated  His  Wing,  and  Was  Destroyed 

in  1864 at  Santry." 

Santry   is    neai 

Dublin. 

I  have  not  been 

able  to  disi  ovei 

the    name    of   the 

artist,  but  a  refer- 
ence   to    Capt. 

Salvin.  who  trained 

this  bird,  will  not 

be    out    of    place. 

Capt.  Salvin,   who 

died    in    1904,    in 

his  87th  year,  was 

di  voted  to  field 

sports  ;   he  wis  an 

authority     on    the 

subject  of  falconry 

in  this  country,  and 

had  long  practice 

in    this    sport,    so 

1  hat     Sir    ('has. 

Domvile    1  ould 

have    placed 

I      in    any 

better  hands  for 

training.     Capt. 
ivas  joint 

authoi    <ii    two 
I     "H  Ins  fa\ 

ourite  subji  •  t,  \  iz., 
<y    in    the 

British  M 


and  Falconry:  its  History,  Claims  and  Practice,  1857. 
The  training  of  Cormorants  for  fishing  was  also  a 
sport  in  which  Capt.  Salvin  distinguished  himself. — 
Wm.    II.   Patterson. 

Holbein's  "Duchess  of  Milan" 

The  final  payment  having  been  made  for  the  pur- 
chase of  Holbein's  Duchess  of  Milan,  the  National 
Art  Collections  Fund  officially  presented  this  picture 
to  the  trustees  of 
the  National  Gal- 
lery as  a  gift  to  the 
nation  on  Novem- 
ber Qth.  In  selec- 
ting this  dale,  the 
c  o  m  m  i  1 1  e  e  con- 
sidered the  King's 
birthday  a  fitting 
opportunity  foi 
making  the  pre- 
sentation in  rei  og- 
nition  of  His  Ma- 
jesty's gracious  act 
in  founding  the 
Special  Reserve 
fund.    In  making 

ment  the  Execu 
tive  Committee 
and  the  members 
of  the  fund  thank 
all  those  who  have 
conti  ibuted  tosave 
this   picture   for 


^{,'40,000.  who  so 
generousl)  plai  ed 
that   sum  at  their 

disposal. 


Notes 


THE      ENCHANTED      ISLAND 

The  mezzotint  here  reproduced  is  by  (i.  H.  Phillips, 

from  a  picture  painted  by  F.  Danby,  A.R.A.,  and  is 

,i  beautiful  rendering  into  black  and 

The  Enchanted      whke  Qf   a|)   i(Jea]   ,m(1   [)()L,t|e  ,an(|_ 

scape  bathed  in  sunshine. 
Danby  was  an  Irishman,  burn  near  \\  exford  in  i  793. 
In  1825  he  was  elected  an  A.R.A.,  but  fivi 
later  he  had  a  quarrel  with  that  body,  and  left  for 
Switzerland,  where  he  almost  gave  up  art  and  tool;  to 
boat  building  and  yachting.  Eleven  years  later  he- 
returned  and  painted  seriously  until  his  death  in  1861. 

THOUGH  the  avowed  object  is  to  deal  with  the 
he  museums,  churches,  and  collections 
in  Belgium,  the  illustrations  to  M. 
Fierens-Gevaert's  second  volume  of 
Lti  Primitifs  Flamands  include  such 
exceptions  as  the  famous   Memlinc  in 

the  Duke  of  Devonshire's  collection, 
and  the  l'ortinari  altarpiece  in  the 
Uffizi  at  Florence.  These  exceptions 
might,  perhaps,  have  been  augmented 
with  advantage,  for  the  omission  ol 
ortant  pictures  now  outside  Belgium  pre- 
o  cne  student  serious  difficulty  in  comparative 
study.  Thus  it  would  have  been  advisable,  111  the 
absen,  any  authentic  works  by  Justus  ol   Ghent 

in  the    I-  Igian  collections,  to  give  reproductions    of 


paintings   m 

Les  Primitifs 

Flamands 

Vol.  II. 

By  Fierens- 

Gevaert 

(Van 

Oest  &   Co., 

Brussels) 

12  frs. 

many 


the  famous  portraits  in  the  Barbarini  Palai 
ascribed  to  Melozzo  da  Forli,  ami  The  Last  Supper  in 
the    Urbino   Gallery.       For   the   scholarly   manner   in 
which  he  deals  with  the  better-known  masters  we  have 
nothing  but  admiration,  but  we  regret  that  he  has  not 
devoted  more  space  to  the  li    sei  known  men.     I 
less  than  two  pages  to  such  a  man  as  Adi  ien    1 
is  quite  inadequate,  bul   the  discussion  ol  works  by 
such    little  known    painters     is  the  J 
Sang,  km  van  Eeckele,  and  Ambrosius  Benson,  adds 
to  the  undoubted  interest  of  the  look.      M.    I  r  n  ns 
Gevaert    has    little    to   add   to  thi 
M.  von   Bodenhausen  in  the  mattei  ol  Gerard  David. 
a  new  interest,  however,  in  pointing  out 
the    influence    ol     Hugo    van    dei    G 
upon    his    Flemish    1  onti  mpoi 
but    through    the    Portinari    all  1    the    Uffizi 

upon    Ghirlandajo   and    L01 
I  ram  e  upon  the  Maitre  des   M01 
have   on.  n  been  attributed  to   Hi 
ductions   throughout   are  ol   exi 

The  book  ol  psalms  illustrati  d   hi 

: 

Meeter  1      I 
A  Stuart  Book    w     Whittingham, 
of  Psalms  sened     wi| 

m   withal.      N 


The    Connoisseur 


allowed  to  be  sung  in  all  Churches  of  all  the  people 
together  before  and  after  Morning  and  Evening 
prayers,  and  also  before  and  after  Sermons.  More- 
over, in  private  houses  their  godly  solace  and  comfort: 
Lying  apart  all  ungodly  songs  and  ballads  which  may 
tend  only  to  the  committing  of  vices  and  corruptions 
of  youth." 

The  volume  was  published  in  London  "  imprinted 
for  the  Company  of  Stationers"  in  1627.  The 
Stuart    needlework    cover    of    this     volume     is    very 


the  design  is  worked 
The  heart  has  once  been  red,  but 
and    the 


elaborate.      The    arch 

silver  thread 

now    faded 

crown   in    which  the 

heart     rests    was    once 

salmon  colour    picked 

out    with    silver.        The 

ground-work    i  s   cream, 

and    the    flowers    and 

other     portions    of    the 

design    are    yellow    and 

green   and    blue.        It   is 

not  difficult   to   see  the 

meaning  of  a  heart  and 

a  crown   surmounted  by 

arising  sun  in  a  binding 

of   middle    Stuart    days 

lovingly    worked    with 

the    needle.        Although 

the  book  was  printed  in 

1627,    the    binding   is 

evidently  of  a  later  date, 

as  an  insi  ription  written 

on  the  fly-leaf  indicates  : 

"Ann  Hamilton  given  me  b\   Her  Grace  the  Duchess 

of  Hamilton."    Unfortunately,  no  date  is  attached.    In 

all   probability   "Ann   Hamilton"   may   have   received 

ih''  book  from  her  aunt  the  first  Duchess.     (There 

was    no     Duke    of     Hamilton     when    the     book    was 

printed,  and  consequently    no    Duchess.)     She,    the 

Lady  Ann,  was   born   in    [636,  and   s :eded    to  lli>- 

title  when   thirteen  years  of  age;  she  is  still    known 
as  "  lb-    good    I  >ui  hess  Ann." 

There  does  not  appeal  to  be  any  ol  the  1  abalistii 
si^ns  on  this  cover  whii  h  are  often  found  in  Stuart 
needlework  designs  associated  with  royalty,  or  having, 
as  undoubtedly  this  cover  has,  strong  royalistic 
symbolism,  and  probabl)  worked  shortly  after  the 
Stuarts  weir  driven  into  exile.     Smart  stamp  pictures 

ain   animal  -  an,]    bird  :  freelj    used  symbolically. 

rpillai  .mil  butterflj  usuallj  accompanj  ru  edL 
work   portraits  ol  (  harli  ;  I.,  ju  n  a  \  th    inn,  orn  was 
the  devii  e  ol    his    rather    lame,    I.     It    maj    not   be 
unlikely  that  the  portions  ol  the  design  in  the  form 


STUART    HOOK    OF    PSA 


of  an  arch  may  be  intended  to  suggest  the  caterpillar. 
In  designs  of  an  amateur  nature  such  as  this,  where 
touches  of  loyalty  to  the  unfortunate  royal  house  were 
worked  into  a  piece  ol  needlework,  it  is  not  easy  to 
read  aright  what  the  gentle  needlewoman  may  have 
intended.— A.   H. 

Allgemeines  Lexicon  der  Bildenden   Kunstler 
Edited  by  Dr.  U.  Thieme  and  Dr.  Felix  Becker 
(W.  Engelmann,  Leipzig)       Vol.  II.       32  Mk. 

The  second  volume  of  Mr.  Wilhelm  Engelmann's 
stupendous  Dictionary  of  Artists,  published  at  Leipzig, 
deals  in  600  pages  with 
the  names  from  Antonio 
da  Monza  t  o  Bassan, 
and  it  is  to  be  feared 
that  the  editors'  laud- 
able thoroughness  and 
their  conscientious  in- 
clusion of  every  artist's 
name  on  record,  will 
somewhat  overshoot  the 
mark  and  result  in  a 
work  of  such  unwieldy 
dimensions  as  to  make 
it  prohibitive  for  the 
private  student,  to 
whose  library  shelves 
certain  limits  are  at- 
tached. It  is  simply 
appalling  to  think  how 
many  volumes  will  be 
needed  to  carry  this  dic- 
tionary t  o  completion, 
when  the  two  formidable  tomes  that  have  so  far 
been  issued  do  not  take  us  beyond  Ba.  And  it  is 
a  sad  reflection,  too,  for  some  of  us,  that  at  the 
present  rate  of  progress  we  may  never  be  allowed 
to  see  the  completion  of  this  work,  the  editors 
having  set  themselves  indeed  a  task  of  enormous 
difficulty.  The  real  object  of  a  reference  book  of 
this  nature  being  not  so  much  the  recording  the 
life  and  art  of  famous  artists  who  are  adequately 
dealt  with  in  many  other  books  of  less  extensive 
scope,  but  rather  the  inclusion  of  comparatively 
obscure  aitists  about  whom  it  is  more  difficult  to 
get  reliable  information,  it  is  naturally  exceedingly 
difficult    to    know    where    to   diaw    the    line.       In    the 

presenl  <  ase  an  endeavoui  seems  to  have  been  made 
to  covet  the  ground  so  completely  that  the  name  ol 
1  vi  i\  .1 1n.1t .  in  ladj  miniature  painter  who  has  had 
the  good  fortune  to  have  one  of  her  attempts  at 
portraiture  accepted  by  the  Royal  Academy  figures 
in  the  list.       On  the  other  hand,  there  are  omissions 


<l-  I ■  Ol   EU'liUK     CCA 


Notes 


IEWS      OF      RARE 


of  artists  of  well-established  reputation.  To  take  an 
instance  at  random  we  find  under  the  name  of 
Atwood  three  references,  one  to  an  American 
architect,  the  second  to  an  American  wood  eni 
and  the  third  to  an  obscure  English  eighteenth- 
century  flower  painter.  But  there  is  no  mention  of 
Miss  Clare  Atwood,  one  of  the  most  personal  and 
competent  lady  painters  of  the  present  generation. 
Nor  do  we  find  among  the  many  amateurs  who  the 
editors  have  seen  fit  to  mention  the  name  of  General 
Baden  Powell,  who  is  not  only  a  frequent  exhibitor 
at  our  art  shows  and  an  active  member  of  at  least 
one  artists'  society,  but  whose  work  has  become 
known  to  a  large  section  of  the  public  through 
reproductions  of  his  war  sketches 
in  books  and  periodicals.  But 
it  would  be  ungracious  to  grum- 
ble at  the  comparatively  rare 
faults  of  omission  and  other 
shortcomings  in  a  publication  ol 
such  comprehensive  magnitude. 
The  thoroughness  with  which 
the  editors  have  carried  on  their 
investigation  may  be  gathered 
from  the  fact  that  no  fewer 
than  forty -one  references  will 
be  found  under  the  heading 
Aubert. 

There  is  a  very  mi.  re  tin; 
history  attached  to  the  jug  we 
A  R  re  illustrate.       W    is 

Wedgwood  in   the    possession 

Jug  of    Mr.    Arthur 

Asian        ait]      rid  v       specialh 

made    for    his   great-grandfather, 


:  irrey,  in  [791,  in  1  in  umstances  whi<  h 
gn  .1  11  1  onal  touch  to  this  sp  1 
I  11  1  ;i  ale  jug  witli  its  inscription,  "God 
the  Plough  '  and  "Success  to  the  Grain  returned." 
and  the  sheaf  of  wheat,  and  the  plough,  and  harrow, 
and  scythe,  and  sickle,  and  other  agricultural  imple- 
ments. 

The  farm  at  the  back  in  the  design  was 
Ridge    Farm,    near     Cheadle,    in    Staffordshire,    and 
Josiah   Wedgwi  od,   always    delicate  in  health,   used 
to  spend    sour    time  thi  1 
during   one  ol    his  \  isits   I 

reproduction    on  this    jug    which    he    had    made   on 
to   Etruria,  nted  it  to  his  host, 

\\  illiam  Mum 

Four 
.1         f  t  e  1 

;  1 .:  i-  typical 

of  many  of  the  jugs  and  mugs 
being  made  in  Staffordshire 
about    thai    date.       I 

the    inscriptions   a 

quaint     touch    of    humour  ; 

v    appeal     to 

1 

English 

might    I 

1 


The    Connoisseur 


These  two  handsome  volumes,  edited  by  Mr.  Leman 
T.  Hare,  will  replace  all  guides  to  the  National  Gallery 
heretofore  given  to  the  public.  The 
"The  National  publishers  showed  brilliant  enter- 
Gallery,"  by  prjse  ;n  applying  modern  colour- 
Paul  G.  Konody,  process  to  their  valuable  book,  and 
Maurice  W.  as  marked  acuteness  in  the  selection 
Brockwell,  and  o(-  t,le  authors,  whose  names  stand 
F.  W.  Lippman  fo|.  accuracv  and  research.  The 
(too  Plates  in  (ask  wag  nQ  easy  Qne      Mr_  Har£..s 

°  °!'r,     ,  .  selection  of  the  hundred  plates  dis- 

Published   in  17           ,                                         ,  ...            ,    ,, 

„  paved   (on-.tiiniii.ite  skill;    and   the 

Parts  at   is.  '      •                   r    , 

„          ,  ,     .  production  of   them   tor  so  cheap  a 

Complete  in  2           '                               . 

Volumes,   by  work    is   astonishing.       1  he   author. 


Mes 


s.  T.  C. 


,iad 


cover  a   large   field  ;  and 


and  E.  C.  Jack)  were  snia"  tribute  to  say  that  they 
have  done  their  work  well  — they 
have  done  it  astoundingly  well.  The  wide  acreage  of 
the  field  they  had  to  till  left  them  scant  range  for  the 
picturesque  description  of  all  the  artists  and  their  works. 
They  wisely  concentrated  their  strength  upon  giving  in 
concise,  brisk,  and  readable  form  the  results  of  the 
latest  researches  of  the  very  searching  criticism  that  has 
been  applied  here  and  abroad  to  the  art  achievement 
of  the  past.  It  fell  by  chance  that  1  needed  a  sound 
reference  book  upon  the  Italian,  flemish,  German  and 
Dutch  schools  for  a  book  upon  which  I  was  engaged 
at  the  time  that  the  first  nine  or  ten  parts  had  been 
published. 

I  found  this  work  the  soundest  and  most  accurate  in 
every  detail — every  recent  attribution,  query,  date,  and 
biographic  discovery  recorded  in  scholarly  fashion  that 
saved  me  an  enormous  mass  of  verification  and  of 
research.  1  can  imagine  no  severer  test  ;  1  know  no 
higher  praise.  These  two  volumes  are  simply  invaluable. 
They  supersede  all  previous  guides  to  the  national 
collection — and  they  do  so  in  an  interesting  manner  that 
makes  for  pleasant  reading.  Not  only  do  we  get  tin- 
latest  discoveries  as  to  artists  and  their  works,  but  the 
sizes  of  the  pictures  are  recorded,  details  as  to  whether 
they  are  painted  on  canvas  or  panel,  and  the  latest 
expert  opinions. 

It  uric  ungrai  mus  to  point  out  occasional  flaws  of 
style  in  so  excellent  a  work  ;  the  only  serious  blemish  is 
the  placing  of  the  plates  away  from  the  text  concerning 
them.  The  advantage  in  having  the  illustrations  that 
render  a  fair  idea  oi  the  colour  of  the  originals  is 
prod  gious;  and  when  it  is  added  that  in  many  of  the 
plates  the  very  technique  of  the  brushing  can  be  seen,  it 
makes  one  marvel  that  the  book  can  be  produced  at  the 
price.  These  two  volumes  must  of  necessity  be  on  the 
bookshelves  of  every  artist  and  student,  to  say  nothing 
ol  every  library.  The  book  not  only  supersedes  all 
previous  guides  to  the  national  collection-  it  is  likely  to 
hold  its  supreme  position  for  many  a  long  day  to  come. 
The  publishers  are  to  be  congratulated  upon  their 
ourage  ;  the)    are  1  ei  tain  to  reap  a  rich   reward. 


Portraits    by    John    Russell,    of    varying    merit, 

usually  in  coloured  crayons,  are  to  be  found  in  London 

at    the    National    Portrait    Gallery, 

T°hn  V;"«      ■  the    Linnean   Society,    the    Garrick 

Loan  Collection  ,,,    ,           ,     ,        ,             „    t        ... 

,      _  Club,  and  elsewhere.    But  no  living 
at  the  Craves 

„   ,,     .  person  has  ever  seen  such  a  range 

Galleries  ,    .  .              ,       .                   ,              •    , 

of    his    productions    as    the    varied 

collection   now  on   view  at    the    Graves   Galleries.      No 

fewer  than   fifty-four   examples  have  been    collected  by 

the   enterprising   proprietors  for  this  loan  exhibition  of 

John  Russell's  works.     A  few  are  in  oil,  all  the  rest  in 

coloured  crayon,  the  medium  in  which   Russell  usually 

worked.       He    appears    to    have    formed    his   style   of 

"crayon    painting"   on   that   of    Rosalba   Camera,   the 

brilliant    Italian    pastellist,    who    visited    Paris  early  in 

the    eighteenth    century,    and    by   her   success   induced 

La  Tour  and  Boucher  to  turn  their  attention  to  pastel. 

No   one   will   say   that   John    Russell   was   the   equal   of 

La   Tour,  whose   pastel   heads  at   St.  Quentin  and   the 

Louvre  are  sign-marked   with   genius;  but  Russell  was 

a  very  capable  artist,  sometimes  rising  to  a  high  degree 

of  excellence.     Occasionally,  as  in  his  Mrs.  Meyrick,  lent 

to  the  loan  collection  by  Mrs.  Mason,  Lady  Winterton, 

lent  by  Major  Younger,  and  John  Huron,  R.A.,  lent  by 

Mr.  II.  V.  Bacon,  he   produced   portraits  worthy  to  rank 

with  the  average  work  of  the  eighteenth-century  masters. 

His  technique   was  often  a  little   haul,  and   he  was  so 

prolific   a   worker  that  he  was   not  always  at   his  best ; 

but  he  could  be  very  charming  when  he  had  a  subject 

that   touched   his    fancy,    such     as    Two    Girls  in    Mob 

Caps,  one  weeping  the  other  consoling  tier,  lent  by  Mr. 

John  Lane.     It   is   said  that  he  commanded   about  the 

same  prices  as  Sir  Joshua    Reynolds,  and   we  can  well 

believe  that  this  remarkable  collection  of  his  works  will 

create  a  new  interest  in  John  Russell,  and  enhance  his 

present-day   prices.     Born   in    1745,  ,ie  was  at   an   earl>' 

age  apprenticed  to  Francis  Cotes.     His  religious  views, 

which  were  intense  and  narrow,  coloured  all  his  life,  and 

to  a   large   extent    directed  his   choice    of  sitters.      His 

"conversion"  to  Methodism,  as  he  records  in  his  diary, 

took   place   "at  about   half  an   hour  after  seven   in  the 

evening  of  30  Sept.,  1764."     He  was  a  constant  exhibitor 

at  the  Royal  Academy  from  1769  to  1805,  the  year  of  his 

death,  and  produced  between  seven  and  eight  hundred 

portraits,    many    of  which    are    lost   or  destroyed.     The 

present  exhibition   is  of  great   interest,  as  it  enables  the 

student  of  eighteenth-century  portraiture  to  form  a  clear 

opinion  of  the  achievement  of  this  popular  lesser  master. 


English  Furniture  ,ui,/  Decoration,  by  Mr.  Ellwood, 

is  the  title  of  an  important  work  just 
Old  English  pubiished  by  Mr.  P.  T.  Batsford,  which 

Furniture  and 


ill    be    the    subject    of    an    extended 
review  in  our  next  number.    The  same 
In  in    has    also    jusl    published    Mo, inn 
Cabinet    U'or/:   by    Wells   and    Hooper. 


Modern 
Cabinet  Work 


Notes 


This  thin  quarto  volume,  simply  written  and  full  of 
information,  should  be  in  the  possession  of  all  who 

make  a  study  of  old  oak   furniture  in 

oak  was  born 

out  of  the  church,  and  carving  of  the 
stone-work  forestalls  the  carving  of  the 
wood.  Here  we  see  on  the  old  black 
Tournai  fonts  the  grape  or  vil 
and  other  decorations  so  typical  of  the 
oak  chests  and  the  like  furnishments  that  were  spread 
throughout  the  English  homes  when  the  Reforn 
broke  up  the  churches  and  created  the  home.     Mr.  Eden 


Black  Tournai 

Fonts  in 

England 

By  Cecil  H. 

Eden 

(Elliot  Stock) 


uf    and    Mr.    Edg 

.     And 
it   may  be  that,  in   the  e,  when   he   has 

increased  his  strength  and  reai  le  may 

come  nearer  to  the  genius  of  Beardsley  and  Si 

He  already  on  «  i  lose  on 

thru    hi 

in  his  Introduction  we  havi  deal,  for  every 

iph  ol  si  is  at  best  a  hall  ti  qualifi- 

cation where  it  does  not  deserve  the  sledge-hammer  of 
frank  repudiation.  This  book,  in  the  years  to  erne,  will 
be  sought  aftei  by  collectors  of  black-and-white. 


FONT  IN  THE  CHURCH  OF  ST.  MARY  UOL'KNF      I- ROM 

rids  the  subject  of  all  dryness,  and  his  sound  informa- 
tion  makes   accessible   the   researches  of  Mean   Kitchen 
and  Mr.  Romilly  Allen,  which  must  otherwi 
in  difficult  places. 

This  large  handsomely   produced  volume  contains  a 
phase  of  the  work  of  a  morbid  artist  who  thr< 

a  genius.    What  can  be  done  fi  i 

the  publisher  has  dom        I 

and  the  atmosphere  ol 
e     the  spirit  and  style  of  the  'n 

perhaps  the  supreme  period  of  Engl 
illustration.      Here  we  are  back  again  into  tl 
imaginative   decade  that   gave   us  Beardsley   and    Phil 
May  and  E.  J.  Sullivan— ami. 
behind  them.  Kicketts  and   Housman,  the 
link   with   the   "men   of  the   'sixties."      Mr. 
Mr.   Ricketts   and    Mr.    Housman,    lacks  thi 


! 


K) 


A  Book  of 

Satyrs 

By  A.  O.  Spa 

(John  Lane) 


pathy  with 

rising  the 

publication,  in  which  the 

each  part  are 

is  no  fault  to  I 


The  World's 
Great  Pictures 
(Cassell  &  Co. 

Twelve  parts 
at  7d.  net) 


that  monumenl     I 

well   Chart,  it    « 

ndexed 


The    Connoisseur 


The  fine  show  of  Wedgwood  ware  at  the  Exhibition 
in   Conduit   Street  has  attracted  the  notice  of  all   con- 
noisseurs  and    collectors.     To   those    of 
e  exclusive    taste,     whose     study    of    old 

Wedgwood  Wed  d    has    been    confined    to    the 

Exhibition  ',  , 

superlative    jasper    ware    in    vases    and 

classic  plaques  and  portrait  medallions,  the  cream  ware 
here  shown  has  come  as  a  revelation.  The  novel  shapes 
and  designs  which  "old  Josiah" 
introduced  into  Staffordshire 
in  his  ware  intended  for  every- 
day use  are  as  remarkable  as 
they  are  original.  Their  like 
had  not  been  seen  before  in 
earthenware,  and  the  porcelain 
of  the  old  English  china  fac- 
tories contemporary  with  the 
great  potter  cannot  show  finer 
designs  than  were  turned  out 
at  Etruria  from  1760- 1790. 
The  colours  of  Worcester,  of 

Derby,  of  Chelsea,  of  Bow,  and  of  Plymouth  have 
rightly  won  the  admiration  of  connoisseurs  ;  but  eliminate 
the  colour,  and  where  is  there  a  brace  of  teapots  as 
symmetrically  beautiful  as  Nos.  23  and  25  in  the 
Wedgwood  catalogue.  These  models  from  the  Etruria 
Museum  of  the  cream  colour  "bisque"  exhibit  a  strength 
and  purity  of  design  that  compel  attention.  The  pear- 
wood  models  for  fine  griffin  candelabrum,  for  soup 
tureen  and  ladle,  and  for  fruit  bowl  are  new  and 
surprising  facts  for  the  expert  to  ponder  over.  Together 
with  the  trays  of  experiments  they  prove  the  "infinite 
capacity  for  taking  pains"  of  our  "English  Palissy." 

Fashionable  folk,  the  descendants  of  families  who,  in 
1774,  were  proud  to  see 
their  mansions  and  their 
parks  depicted  on  the 
great  Catherine  II.  ser- 
vice, have  been  extremely 
interested  in  the  selection 
of  specimens  lent  to  this 
Exhibition  by  His  Im- 
perial Majesty  the  Em- 
peror of  Russia.  T  h  e 
find  oi  this  service  by 
Dr.  G.  C.  Williamson  is 
one  of  the  mos  t  talked 
of  events  of  the  year,  and 
the  authentic  history,  and  a  description  of  its  views,  are  for 
the  in  it   time  made  public  in  his  volume  on  the  subject. 

The  illustrated  catalogue  of  the  Wedgwood  Exhibition 
has  a  brimstone  yellow  cover  and  oak  leaf  design,  sym- 
bolic of  this  cream  ware,  and  with  over  sixty  illustration,, 
is  a  pleasing  souvenir  of  the  Record  of  a  Hundred  and 
Fifty  Years'  Work  of  Messrs.  Josiah  Wedgwood  &  Sons. 
oi  English  earthenware  will  rind  on  the  shelves  of 
this  exhibition  much  that  is  new  and  helpful  in  forming 
maturer  judgment  in  collecting.  Happily,  too,  as  the 
kilful  results  of  the  work  of  to-day  clearly  show,  the 
firm    has    lost   none   of  its   old    traditions.     The    much 


art.       Callot    was    born 
Duchy    of   Lorraine,    ir 


,'liOI.WOOI) 


admired  borders  from  the  design  books  of  Flaxman  and 
his  contemporaries  are  still  being  painted  on  the  dinner 
and  tea  ware  to-day.  Five  generations  of  unbroken 
artistic  achievement  is  a  glorious  record. — A.   H. 

"Jacques  Callot."     By  H.  Nasse  (Klinkhardt  and 
Biermann,  Leipzig.     10  Mk.) 

It  was  an  excellent  idea  on  the  part  of  Messrs.  Klink- 
hardt &  Biermann  to  start 
their  handsome  new  series  on 
the  great  masters  of  graphic 
art  with  a  volume  on  Jacques 
Callot,  who,  in  a  time  when 
French  national  genius 
seemed  to  be  entirely 
eclipsed  by  the  Italian 
eclectic  influences  fostered 
by  the  School  of  Fontaine- 
bleau,  remained  almost 
the  only  notable  repre- 
sentative of  autochthonous 
t  Nancy,  the  capital  of  the 
1592.  He  was  in  Rome  in 
1608,  and  acquired  the  art  of  drawing  from  Tempesta, 
and  the  technique  of  the  burin  from  his  compatriot 
Thomassin. 

In  1629  he  was  called  to  Paris  by  Louis  XIII.,  for 
whom  he  executed  some  plates  of  the  siege  of  La 
Rochelle.  The  death  of  his  father  caused  him  to  return 
to  Nancy  in  1630.  When  that  city  was  taken  by 
Louis  XIII.,  he  refused  to  commemorate  the  event 
with  his  etching  needle,  as  he  would  not  "do  anything 
against  the  honour  of  his  prince  and  country."  He 
died   on    March    24th,    1635. 

Various  pictures  in 
private  collections  are 
ascribed  to  Callot,  but 
modern  criticism  does 
not  admit  his  author- 
ship of  any  of  their  num- 
ber. Indeed,  it  is  ques- 
tionable whether  he  ever 
devoted  himself  to  paint- 
ing, and  his  immortal 
fame  rests  entirely  upon 
his  etched  and  engraved 
work,  and  upon  his 
wonderful  sketches  at  the 
Louvre,  the  Albertina,  and  the  Uffizi  Gallery.  His 
name  is  generally  identified  with  his  phantastic  and 
humorously-imaginative  invention  of  monsters  and  cari- 
catures of  humanity.  But  a  more  important  phase  of 
his  art  is  the  faithful  record  he  has  left  of  his  own 
time  in  his  brilliant  series  of  cripples,  dancers,  beggars, 
and  tournaments.  Mr.  Hermann  Nasse's  critical  study 
of  Callot's  work  is  most  illuminating  ;  and  the  pub- 
lishers must  be  congratulated  upon  the  admirable 
quality  of  the  facsimile  reproductions,  among  which 
they  have  wisely  included  many  of  Callot's  original 
drawings. 


Notes 


''!I      frontispiece    to    the    present    number,    Lad) 
Langham,  by  Charles  Wilkin,  after  Hoppner, 
Our  Plates       ot  the  most  'mPortant   «'orks  of  that 

eminent   stipple    engraver.       [1    forms 
one   of  a   series   published    under  the   title      / 
Series  of  Portraits  of  Ladies  of  Rank  and  / 

Hoppner  was  associated  with  Wilkin   in  this  ven , 

but  ultimately  Wilkin  took  the  er 
the  publication. 

Wilkin     is    also    well     Irnrtwn 


e  respon  ibilitj 
the   engravei 


Til 


mm 

SSI 


P 

X        MS     SIS     PF 


Cornelia  and 
her  Children 
and  Master 
Ho  a  re,  both 
after  Reynolds. 

An  excep- 
tionally rare 
colour-print  is 
Le  Faucon,  and 
some  do u  b t 
exists  as  to  its 
painter  and  en- 
graver. It  is, 
however,  gener- 
ally believed  to 
be  the  work  of 
the  engraver 
Demarteau, 
after   Huet. 

An  excellent 
example  o  f 
m  oder  n  e  n- 
graving  is  to  be 
found  in  the  portrait  of  Cardinal  York,  which  we 
reproduce  in  this  number.  It  is  from  a  print  engravi  d 
in  pure  mezzotint  by  Alfred  J.  Skrimshire  from  the 
painting  by  Largilliere,  and  makes  a  fitting  pendanl 
to  the  same  engraver's  portrait  of  Prince  • 
Edward  published  some  time  ago. 

The  Head  of  Christ,  by  Quentin  Matsys,  which 
originally  appeared  in  The  Connoisseur   Maga  i 

for  June,  1005,  is  presented  loose  with  this  numbel 
in  response  to  numerous  requests  from  readei  who 
wished  to  frame  the  subject. 

The  print  on  the  cover  of  the  present  number  1 
perhaps  the  most  famous  of  .ill  golfing  prints,  being 
the  work  ol  that  famous  master  Valentine  Green,  after 
Lemuel  Abbott. 


e  feature  in  the  great  West  End  thoroughl 
ne  addition  to  the  charms  of  this  famous  street 
beinjr  (iuc  to  Mr.  A.  I..  Humphreys,  the  present  head  of 
the  firm.      Many  famous  persona] 
the  voli  a  ild,  so  invitingly  displaye 

the  Duke 
oi   Wellin    on,  Ma 

called  ;   while  the  Countess  of  Blessington  and  Fanny 
Kemble  are  only  two  ol  ent  members  of 

the  fail  sex  who    penl    1  pli  n  this  attractive 

and  interesting  shop. 

Messrs. 

ShepherdBros.' 

Exhibition 

THE     winter 
e  x  h  i  h  ;  I 
earlyBritish  and 
modern  masters 
at  Messrs.  Shep- 

full  ot  ; 
though  many  ol 
1 1  5  shown 
are  by  no  means 
important  ex- 
T  h  e  y 

often  interest 

the  earlier  work 
of    the 

Included   in  the 

exhibition  are 
works  by  Key 
nolds,  Romney, 

Gainsborough,  and  Hoppnei  ai igst  the  older  masters, 

whilst    the    modern    school    include 

work  ofT.  Sidi        ' !     ' 

and   Vicat   >  0 


i. '     1  ■•     PICCAD1L1  : 


J.    Skrinishir* 

A  New 
Mezzotint 
in   Colour 


Founded 

to    No-..    190 


:  797  at  173,  Piccadilly,  ami  lal 

d    1S7    in    the    same    tho 

business  of  Hatchards,  the  well  known 
Hatchards'"       and  world.famea   | 

een    re  transferred  to    No.   187.     The  new 
hich   is  really  a  very  old  shop  front  n 


i  that  eminent  n  odi  rn  mez  otinter,  Alfred 
win  -<■    fine    plan  Charles 

Edward  reproduced  in  our  number  for 
June,  1905,  and  that  ol  Cardinal  York 
in  our  present  number,  are  well  known 
to   our  read 

by    his    tine    mezzotint    of   Mrs.   SI 

borough     a  limited  issue  ol  whi<  h  ha 

by  Mi.   W.   M.   Powi 

1 
this   charming    punt    1-    worth 

■  fair  dame. 

The  issue  is  limited   to  tw 


Special    Notice 

Enquiries  should  be  made  upon  the  coupon 
which  will  be  found  in  the  advertisement  pages.  While, 
owing  to  our  enormous  correspondence  and  the  fact 
that  every  number  of  The  Connoisseur  Magazine 
is  printed  a  month  in  advance,  it  is  impossible  for  us 
to  guarantee  in  every  case  a  prompt  reply  in  these 
columns,  an  immediate  reply  will  be  sent  by  post  to 
all  readers  who  desire  it,  upon  payment  of  a  nominal 
fee.  Expert  opinions  and  valuations  can  be  supplied 
when  objects  are  sent  to  our  offices  for  inspection, 
and,  where  necessary,  arrangements  can  be  made  for 
an  expert  to  examine  single  objects  and  collections 
in  the  country,  and  give  advice,  the  fee  in  all  cases 
to  be  arranged  beforehand.  Objects  sent  to  us  may 
be  insured  whilst  they  are  in  our  possession,  at  a 
moderate  cost.  All  communications  and  goods  should 
be  addressed  to  the  "  Manager  of  Enquiry  Dept., 
The  Connoisseur  Magazine,  95,  Temple  Chambers, 
Temple  Avenue,  E.C." 

ANSWERS    TO    CORRESPONDENTS 


Arms.  —  Cavalry  Sword.  —  A  1,864  (Sail 
-The  sword  of  which  you  send  sketch  dates  . 
id  its  value  is  about  7s.    6.i. 


■ihn,  N.B.). 
it    1815-20, 


Hooks.  —  "Recherches  sur  les  Feuilles,"  etc. 

Ai,oo6  (Chielt).— The  three  works  you  mention  are  not  woith 
more  than  from  £7,  to  £5.  It  is  difficult  to  value  then  exactly, 
as  you  give  so  lew  particulars. 

Goldsmith's  "History  of  England,"  abridged, 
10th  edit.,  1800.— A  1,993  (Regent's  Park).— The  value  of 
youi  old  History  1,  only  aboul  2s.  Oil. 

Book  of  Engravings.- A 1. 961  (Falkirk).— The  old  hook 
ol  engravings,, I  Raphael  initial  decorations  at  the  Vatic, n  1, 
worth  aboul  £1. 

Works  of    Peter   Pindar,   3  vols.,   with    Portrait, 

1704.-A2.000    (Soulhfields).-    \,„„     1 k    would    not    fetch 

mole  than   5s. 

Coins.— James  II.  £5=piece,  1688.— At, 211  (Liss). 

ill  "„   coins  ,,[  this   1  ;sue  w<  re    trucl     ,1    London.     Values 

ran]  e  from  ,£5  5s.  lor  a  lair  specimen  to  £6  for  a  very  fine  one. 

William   III.   is.  and   2s.   6d.,   1O07.— A2,oo8  (Tober- 

<•■>■      V«H  William  III.   is.  is  worth  about  2s„  and  the  other 

silvei  piece,  which  is  evidently  a  half-crown,  about  3s.  6d. 
\  our  old   Bioiueisol   comnion  lorm  :   value  al , out  7s    0,1 


Engravings.  —  "  Miss  Peel,"  after  Sir  T. 
Lawrence,  by  S.  Cousins.—  A  1,075  (Witney).— A  first  state 
of  this  engraving,  that  is  an  impression  before  any  inscription, 
is  worth  about  ^40.  An  impression  without  lettering,  but 
bearing  the  publisher's  mark,  is  only  a  second  state. 

"  Ipsa  Conteret  Caput  Tuum,"  after  P.  P.  Rubens, 
by  S.  A.  Bolswert.— Ai,977  (Sevenoaks).— This  is  a  print 
of  very  small  value,  but  certain  engravings  by  Pether  and  others 
whose  names  you  mention  may  be  worth  considerable  sums. 

Coloured  Print  after  J.  B.  Cipriani,  by  F.  Barto- 

lozzi.— A1.222   (Bakewell).  —  Many  prints  by  Bartolozzi,  after 

Cipriani,  are  of  high  value.     We  cannot  recall  this  particular 

i'      ■  '■   ,  your  description,  but  it  is  quite  possibly  worth  £5. 


Furniture.— Chairs  to  match  Gate-legged 
Table.— Al, 377  (Peterborough).  — The  style  of  chair  to  go  with 
a  gate-legged  table  as  shown  in  your  illustration  is  Cromwellian. 

Sheraton  Commode.— A  1,989  (Petersfield).— From  the 
photograph  we  should  describe  your  commode  as  Sheraton 
rather  than  Hepplewhite,  and  formed  probably  of  satinwood 
and  harewood.  It  appears  to  be  a  very  gracelul  specimen,  and 
should  be  worth  about  thirty  guineas. 

ObjetS  d'A  rt .— Glass  Jug  and  Goblets.— Ai,98o 

(West  Southbourne). — The  value  of  your  glass  goblets  depends 
largely  upon  the  age,  and  it  is  really  necessary  to  inspect  them. 
If  genuine  17th  century  pieces,  the  jug  is  worth  ,£4,  and  the 
goblets,  allowing  for  mendage,  about  £2   10s.  each. 

"Pottery  and  Porcelain.  —  Sevres.— At, 999 

(Margate).— Your  teapot  is  evidently  not  Sevres,  and  the  fact 
that  it  bears  a  Sevres  mark  suggests  that  it  is  comparatively 
modern.      It  is  probably,  therefore,  of  small  value. 

Ironstone  Jug.— A  1,962  (Cambridge).— Your  jug  may 
have  been  made  by  Mason's,  but  several  makers  produced  this 
class  of  ware  and  used  the  mark  "  Ironstone."  Mason's  usual 
mark  for  ironstone  was  the  name  Mason  and  a  crown  above. 
This  form  of  jug  is  quite  common. 

Staffordshire  Group,  "  Vicar  and  Moses."— A  1,981 
( Walthamstow)  and  Ai,973  (Kirby  Moorside). — The  originals 
of  this  group  are  marked  "  K.  Wood,  Burslem,"  and  a  recent 
auction  price  for  one  is  £35  10s.  Copies  have  been  made  at 
various  periods,  including  quite  modern  "  fakes."  A  good  early 
specimen  is  worth  .£10  to  ^15. 

Staffordshire  Group.  —  At, qSi  (Havering-atte-Bower). 
—Your   description    suggests    one    of    the    tine    productions   of 

\V 1  ,\   (  aldwell,  ol  Burslem,  in  the  early  part  of  last  century. 

II,  as  it  appears  to  be,  it  is  a  rare  group  of  this  class,  it  is  worth 

£b  to  £*. 


H  The  Connoisseiir 

1 

C75 

v.Z5 


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